I have recently enjoyed three excellent and thoroughly engaging novels. Each had me gripped in very different ways, but each shares the key ingredient of successful storytelling; a strong narrative voice. The extremely distinctive first person narrators of each of these novels draws you in and captivates you. A narrative voice that feels real and engaging is the element I most struggle with when trying to write my own creative works. I certainly therefore don’t feel qualified to dissect the successful and unsuccessful subtleties of the writing in these books in review form, but feel compelled to record what made them so readable for me as “thoughts”, for that is all they are, and to recommend them to others nonetheless. I may inadvertently let slip the odd slight spoiler, for which I apologise but place a warning here.
First up then is Kazuo Ishiguro’s Never Let Me Go, which I admit I was only inspired to read due to the hype surrounding a forthcoming film adaptation and the allure and beauty of the trailer for it. What’s noticeable and striking even in that brief snippet of film is the overwhelming Britishness of the story and it’s a very British novel too. That sense of place comes not just from the boarding school setting, the childhood themes, the nostalgic reminisces and stunning countryside, but from the voice of the novel, Kathy H. Whilst it appears she is candidly telling her life story, with little reason or desire to embellish and hold back, you soon notice her strong focus on others, on those immediately close to her. If she criticises a friend she will qualify what she means and spend pages delving into another random memory of them to share their alternative, better side. In many ways this is a novel of memories, about the ones that slip away and the ones you never let go of. Given that she focuses on those most important to her, it’s enlightening, revealing and intriguing that she never actually says in the novel, as far as I can see or recall, that she loves the man events make clear to be her soul mate. Indeed Kathy does not spell things out about herself often and retells everything, overpowering emotions and all, with a simplicity and undertone of British restraint. It’s this restraint and modesty that is the most chokingly moving at times too. It’s clearly to Ishiguro’s immense credit that he simultaneously creates a strong, rounded character in Kathy, whilst also letting events, and things Kathy omits, paint a picture of their own. Kathy has confidence that, from what she has retold to us, she need not say explicitly “I loved him”.
I’m glad I read the original story as a novel before the release of the film in January. Despite the promise that attracted me in the trailer, Carey Mulligan will do well to play Kathy H as quite as compellingly as Ishiguro writes her. The film is also set to cut large chunks of Kathy’s childhood memories of Hailsham, in favour of the adolescent portion of the story. I hope this omission does not detract from events later on and make them less meaningful. The one fault I found with the book, and one the film will also struggle to overcome, is the sense that there is never a satisfying big conspiracy revealed, as is hinted at. The one that does emerge seemed fairly clear early on and whilst Ishiguro seems to hint that there is more to it (I had visions of some sort of apocalyptic Britain or a more interesting and dramatic disintegration of ethics) there really isn’t. Mostly though Never Let Me go is a terribly moving story because of the way it feels so real. Kathy’s language is simple but beautiful at times, like many of her memories. Her friendships and loves are not obsessively described with clichés and extravagant imagery, and are consequently all the more like our own. The way things turn out is so tragic because you can place yourself in her shoes.
I have also recently read Lee Rourke’s debut novel, The Canal, joint winner of the Guardian’s alternative award Not The Booker Prize. As the review on the Guardian website points out, this is a debut crammed with ideas. This might have been a problem if the ideas weren’t original or didn’t resonate with me, but I found most of them to be insightful and well expressed musings on a realistic truth. The novel begins as an engaging meditation on the nature of boredom and how it is a fundamental part of existence to be embraced, rather than feared and avoided. It eventually evolves into a touching love story, which becomes an obsession and climaxes with an eventful ending. Most of the novel aims accurately for realism; its ideas, its dialogue, its images. Only at the end do feelings and events become sensational.
The title of the book makes it clear that it will have a strong sense of setting and the surroundings of The Canal are ever present throughout the narrative, the backdrop to almost all the action. Its features are described with some wonderful imagery and symbolism. Even the book itself, the physical design of the novel, is pleasing to look at and hold. If I were Rourke I’d be delighted with the tasteful design of my first fictional foray. He ought to be proud too of the dialogue in his work, which really stands out as exceptionally believable and realistic, becoming almost a script at times before reverting back to the narrator’s thoughts. The dialogue is rightly praised on the back of the book.
Like Never Let Me Go, much of The Canal’s success comes down to the convincing narrative voice. However if Kathy H was restrained, the nameless narrator of The Canal is mysterious. The woman he meets on The Canal is also mysterious, until he slowly uncovers her secrets. She is for the most part a rounded character and their relationship believable, but at times it succumbs to cliché. There are other clichés too such as the stereotypical gang of youths and the unstoppable march of building work that eventually swallows his patch of The Canal. These unimaginative elements let down the originality and realism of the rest of the book, but The Canal was an engaging, un-put-down-able read.
If The Canal mused about boredom then The Dice Man is a full on exploration of its depths and connections to the meaning of existence. The main reason I was reluctant to be bold enough to call these thoughts of mine a review was that The Dice Man is simply too mammoth, sprawling and impressive a work for me to digest, let alone analyse adequately. It’s jam packed with ideas and full of such variety that it touches on more areas in one chapter than most novels. It has spawned a cult and resembles a bible in weight and heft. It’s immensely controversial, challenging long established truths in religion and philosophy, outraging those with a strong moral compass. It contains scenes that are graphically violent and sexual. It is regularly and consistently funny. However as with The Canal, it is the quality of composition and writing that truly impresses me with The Dice Man.
From the very first page The Dice Man makes it clear it will not follow the conventions of an ordinary novel, but mimic several at once. It flits from the brilliantly cynical and scathing first person voice of Dr Lucius Rhinehart, to describing events in his life in the third person. It also chucks in various articles about events in the Dr’s life, along with other methods of storytelling such as transcripts of interviews and television shows. With all the talk of ideas, philosophy and sex surrounding The Dice Man, it can be forgotten that it is an exemplary exercise in creative writing, full of tremendous variety. The dialogue is always funny and realistic and the characters well realised, albeit obviously through the lens of Dr Rhinehart’s own entertaining, intelligent opinions. There are narrative twists and turns, violent thrills and sexual ones. The careful craft and exciting breadth of this novel ensures that a novel of over 500 pages remains gripping throughout. It consumed me for a whole week.
Then of course there are the ideas themselves, the philosophy behind The Dice Man. The reason this book has become so notorious and actually converted readers to the “religion” detailed within its pages, is that many of the ideas make sense, that and the alluring mystery to it all. The mystery blurs the boundaries between fiction and reality. Luke Rhinehart is of course a pseudonym, but a quick Wikipedia search on The Dice Man and you discover the real author, George Cockroft, also genuinely experimented with the “dicelife”. So there is some truth to the claims that this a factual account and that may account for its vivid detail. However it is also undoubtedly a sensational work of fiction, at times taking swipes at the profession of psychology and the state of society in general. I have already said that as a novel it should be praised and not revered simply for its bold ideas, but it is true that the seductiveness of the ideas help sweep you along in the story.
The basic principle of The Dice Man is to abandon free will, at least to a great extent. Every decision in your life you are unsure about should be decided by the throw of a dice, and in fact later on, even those you do feel sure of. You may create options for the various numbers of the dice or die, but whichever they choose you must blindly follow. The options must try to embrace all aspects of your multiple existence, so for example if you have idly fantasised about masturbating over your pot plant, even for a second, this ought to be considered and given to the die to decide. The aforementioned variety and randomness of the novel thus mimics the theory at its heart, with one section actually printed twice immediately after you have read it, presumably at the will of the die.
The philosophical implications of handing over control of a human life to chance are vast and fascinating and I shall not even scratch the surface of their interest here. But Rhinehart comes to believe in the novel that by following the dice and developing his theory he can become a kind of superman, the ultimate human that abandons the misery imposed on us by clinging to a sense of “self”. We often feel completely contradictory desires each day, none more true than the other. What is truly haunting and bewildering about The Dice Man is that by listening to Rhinehart’s distinctive, cynical, hilarious voice, we come to see the sense to his arguments and then when he commits an unspeakable sin at the will of the dice, we feel implicated too. Does a truly liberated human existence require immorality? Rhinehart becomes obsessed by the potential of his simple idea to elevate him intellectually, to truly free him from boredom and obligation. He says that he resembles Clark Kent and by pursuing “dice theory” Rhinehart aims for a permanent transformation into Superman, The Dice Man, on another level to the ordinary human drone.
I’m not saying The Dice Man is the perfect novel, do not misunderstand my awe and praise. At times it left me baffled in completely the wrong way, and despite its championing of the random and new experiences, it can become repetitive, particularly the frequent bouts of sex. And whilst it is sometimes credibly intellectual and inspiring, such as the scene when Rhinehart defends his new theory to a panel of his influential peers, at others it does appear to be simply sick and shocking for shocking’s sake. The thing is that The Dice Man knows it is not the perfect novel, in fact its cynicism screams and mocks the idea of a perfect novel being possible. Even the repetitive sex scenes are always evocatively described or hilariously painted and the idea that a man striving for complete liberty is constantly tied down by sexual desire is ironic and mocking in itself. The Dice Man really is often laugh out loud funny. It is also scandalous, entertaining and everything else it has been described as. Most of all it is an original creation, a unique fusion of cultural influences, which perfectly encapsulates the America of its time and remains powerfully relevant today.
These three novels perhaps demonstrate the importance of two ingredients in particular amongst the many needed for a success: interesting ideas and an individual narrative voice.
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As a Manchester United fan I refused to believe the tabloid talk of a widening rift between Wayne Rooney and Sir Alex Ferguson. It was the usual overexcited babble, trotted out simply to fill column inches. The sports pages have always brimmed with such gossip and rumour when the decorated, dour Scott decided to take a no nonsense approach to one of his big players. Rarely did such an approach lead to outright irreparable confrontation, and when it did the players had always past their prime or become replaceable. No one was seriously considering Wayne Rooney as a player who has already peaked, a player who could easily be slotted out of the side. When Ferguson had had enough of a player’s ego in the past he ushered them out the door and reinvented his side. Stam was eventually replaced by Ferdinand, Beckham by Ronaldo. When Van Nistelrooy departed Fergie changed the team’s playing style and adapted for the better. This time there was no question of Rooney departing and that being the catalyst for a wave of positive renewal, because Rooney was the one remaining talisman, the fulcrum around which any new generation would grow. Besides just months ago the England striker had pledged his entire playing life to a club he loved, respected and was grateful to. It is impossible to imagine where he would go.
I put all the excited chatter down to his recent personal and footballing woes. Rooney was the type of character who was bound to get agitated when in a bad run of form. He was also, or so I thought, a football puritan who just wanted to play as much as humanly possible. That’s why he was furious with Ferguson for being left out of the side a few times recently after news of his personal life rocked the airwaves. He wanted to play his way out of trouble, smash the doubters and the critics with his genius and endeavour on the pitch. Sir Alex, experienced with such media storms, clearly felt that Rooney would be better off shielded from the harsh glare of scrutiny whenever possible and unleashed to prove his doubters wrong only when fully, 100% fit. The manager was doubtless aware how he has allowed his squad to deteriorate in quality, to the point where Rooney carried United’s title challenge almost single handed last season, and he would be needed again at his best if United were to win back the crown. Sadly Rooney too could feel that burden on his shoulders and was no longer relishing it but allowing it to undermine his brilliance on the pitch.
Nevertheless even as the evidence mounted I would not believe that Rooney wanted to leave until Ferguson confirmed it in a press conference and Rooney followed this with a statement of his own. If there is to be a media battle as to who is blamed more, manager or talisman, it would seem Fergie has already masterfully laid the seeds of manipulation in his favour. Or perhaps the veteran manager was simply being honest and there was nothing calculated at all about his approach to the news. He seemed solemn at the press conference, powerless. The fingerprints of the modern game’s big money, agent culture were all over Rooney’s statement. The fans could make up their own minds.
Having said this Rooney does have some weight behind his argument. There is no doubt that Ferguson has let his team become over reliant on Rooney’s presence. I have been arguing for the last couple of years, and indeed have mentioned in previous pieces, the need for Fergie to invest in the future, a new generation of Red Devils and thus avoid the need for a massive, unrealistic replacement of faded stars like Giggs, Scholes and Ferdinand in one go with high quality, expensive replacements. There are still gaps in the team left by the departure of Ronaldo and even Roy Keane. At times United’s trophy charge last season was a limp and a wheezing carcass was dragged reluctantly towards the finish line by Rooney’s goals. When his form dried up so did the team’s trophy hopes. This summer it seemed inevitable that Fergie would finally reinvest some of Ronaldo’s gargantuan transfer fee. But he let more time pass without acquiring replacements and dumbfounded supporters by missing the chance to sign a bargain like Ozil, who ended up at Madrid. There was no excuse for such a failure. The manager has always insisted that he would not be held to ransom by the market, but here was a proven, emerging young talent at a sensible price. Instead an impulsive £7 million went on Bebe, an untested, youthful player from a low level of football, who judging by his start to life at Old Trafford looks set to go the way of Djemba-Djemba and other Fergie transfer flops.
Letting Ronaldo go may have been inevitable and a good deal for United, but since his departure the manager has not moved to build a new great side or plug glaring gaps. In the aftermath of Ronaldo’s departure United’s weakness was the lack of a strong midfield spine, which cost them a second consecutive Champions League against Barca in the final. However rather than acquire that solid spine and build a new team for a renewed push for that third European Cup Fergie has allowed his squad to age. Now there is the need to replace Van Der Sar soon, find a new partner for Vidic given Rio’s continued fitness problems and secure long term creators and goal getters going forward. Acquiring all that quality in a hurry will be expensive and impossible given United’s financial constraints these days. Perhaps I am being unfair and in reality Ferguson, like any manager, was keen to go out and get players but was hampered by cautious voices behind the scenes, filtering down from the boardroom and from the Glazers. But in my view United’s diminished financial clout made it all the more important to gradually and sustainably acquire the parts of the next great side. Leaving things so late heaps so much pressure on players who simply don’t have it in them and risks a Liverpool style fall from grace from which the club might not recover.
Ok things might not be THAT drastic. Manchester United remains a massive club, with or without Wayne Rooney. Top, top managers hungry for glory and a place in history and capable of putting their own stamp of success on a team, would be desperate to step in should this crisis prove the beating of Sir Alex. If Rooney were to leave he would bring in a fee similar to that of Ronaldo, if not more. He is certainly worth more to the team, if not in the same dazzling, world beating form that the Portuguese was in. With no Ronaldo or Tevez at the club now only Dimitar Berbatov stands out as a world class potential talisman, and his form is sporadic. Therefore Rooney’s departure would surely demand serious investment in like for like replacements to keep United at the forefront of the game. There is already talk of Torres, Kaka, Benzema, Bale. As with Ronaldo though Rooney’s unique qualities make him effectively irreplaceable and a number of players, coupled with a change in style, would be needed to cover his absence.
Whilst Sir Alex has clearly missed opportunities in recent transfer windows that may have made the effects of this crisis even worse, there is a reason why Rooney is emerging as the villain of the piece; he is. Sir Alex Ferguson is a wise, successful manager, hindered by a difficult boardroom situation and impossibly high expectations. Wayne Rooney is a good player, but at 24 owes everything to his manager and his club. His statement talked of ambition and the club’s apparent lack of it, but for all the failings I have mentioned Manchester United remain one of the best clubs in Europe and are rivalled seriously only by Chelsea in the Premiership. Rooney has been privileged enough to have been elevated to effectively the leader of United’s trophy pushes, the carrier of supporters’ hopes and dreams. As Mark Lawrenson remarked in the build up to United’s stale win over Bursapor last night, Rooney has clearly forgotten where he has come from. He is a Champions League and Premier League winner and it is within his own power to ensure continued success for his club. Has he no sense of responsibility, respect or greatness? Where exactly would he like to go? Manchester City or Chelsea? Madrid or Barca? The choices are limited and none would suit him like United. Those who abandon Fergie’s projects rarely go on to better things, even if their already sizeable pay packets swell that little bit more. Rooney’s departure could permanently scupper United, but it will more than likely simply herald the beginning of the end for his own career and hero status.
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There are a number of high profile British projects to look forward to in the coming months, with some of them already making waves at film festivals and generating Oscar gossip. Perhaps the biggest and most widely anticipated of the coming releases is unlikely to win masses of critical plaudits but shall delight and tease the expectant masses…
Harry Potter and the Deathly Hallows: Part 1
Release Date: 19th November 2010
Starring: Daniel Radcliffe, Emma Watson, Rupert Grint, Bill Nighy and endless others!
Director: David Yates
Synopsis: In the first of a two part adaptation of the final, seventh book in the Potter series, Harry embarks on a quest to destroy the Hoxcruxes that preserve Voldemort’s immortality, as the Dark Lord tightens his controlling grip on the magical world and the country as a whole. Familiar friends are menaced as Harry’s psychological connection to his nemesis helps him learn more about both the past and the destiny awaiting him.
Will it be any good?: Whilst David Yates clearly convinced the money men behind the movies that he had mastered the magical recipe with his previous Potter films Order of the Phoenix and Half Blood Prince, and a sizeable chunk of the critics too, I have always felt that his offerings were weak additions to the series and disappointments following Goblet of Fire and the inspired Prisoner of Azkaban, helmed by Alfonso Cuaron. To my mind Cuaron has been the only director to successfully inject exactly the right dose of the magical and fairytale, whilst also creating a gripping narrative that worked independently of the book. Goblet of Fire too was a solid entry to the series, but Yates has failed to up the level of threat and drama sufficiently as Voldemort emerged from exile, with set pieces such as the climactic battle between Dumbledore and Voldemort at the Ministry of Magic in Yate’s first Potter picture disappointing fans of the books. Ralph Fiennes has tried his best as the sinister wizard but we’ve now seen so much of him being frankly less than scary that his supposed all conquering power has lost its fearful mystique and he often appears on screen as a pale and camp vampiric skinhead, prancing around like a pantomime villain. The decision to split the final book into two films was perhaps inevitable given the irresistible revenue guaranteed by such a move and also the abundance of action in the novel. It will be interesting to see how artificial the cut off point for this first instalment feels and whether or not the best action will be reserved for the finale, leaving this feeling an empty affair, a mere prelude to the real deal. The quest nature of the story shall take the action away from the formulaic comfort of Hogwarts that was the foundation of both the books and movies successful appeal. Yates will have no excuse this time round for a lack of exciting set pieces and fans will take heart from a promising and exciting trailer. It really is time these films delivered something special that does both the original stories and talented cast justice, but it does seem that this entry may be simply an elaborate teaser before Part 2.
The King’s Speech
Release Date: 7th January 2011
Starring: Colin Firth, Geoffrey Rush, Helena Bonham-Carter, Timothy Spall
Director: Tom Hooper
Synopsis: Taking to the throne due to his brother’s abdication, King George VI is both reluctant and unfit to lead the British Empire at the dawn of a shifting new world order. Hampered by a terrible stammer he enlists the help of eccentric Aussie speech therapist Lionel Logue to improve his expression and find his true voice.
Will it be any good?: This film came away with the big prize at the Toronto Film Festival and has all the necessary ingredients for Oscar glory, including another mammoth performance from Colin Firth that looks certain to earn him a second consecutive best actor nomination, following last year’s for A Single Man. Indeed this is a film with an incredibly strong cast and one bound to be full of pitch perfect performances, with much praise already being heaped on Geoffrey Rush’s amusing and inspirational therapist, and Timothy Spall seeming a natural choice for Winston Churchill. Add in the lavish and meticulous period detail and the focused, character driven nature of the narrative at a time of enormous historical importance and this could have critics drooling and writhing in the aisles with pleasure. Of course even with the magnetism provided by awards buzz a film needs to be watchable to be a commercial success and the blend of humour and moving emotional drama promised here, set against a fascinating backdrop of national crisis and relevant media issues, looks set to ensure The King’s Speech is a hit with the ordinary cinemagoer and not simply a finely executed but essentially lifeless and dull costume drama. One to look forward to.
Never Let Me Go
Release Date: 21st January 2011
Starring: Carey Mulligan, Keira Knightley, Andrew Garfield
Director: Mark Romanek
Synopsis: An adaptation of the dystopian novel by Kazuo Ishiguro, Never Let Me Go tells the story of three children whose lives are interlocked by love and friendship at a seemingly harmless rural boarding school. However as they grow up they must learn to come to terms with their fate and their conflicting feelings for each other.
Will it be any good?: The trailer looks incredibly moving, beautifully shot, acted and scored, and it’s been chosen to open the London Film Festival but so far this film has divided critical opinion. It may simply be that expectations were disproportionately raised by a tantalising combination of Romanek’s directorial return, an acclaimed novel being adapted and three of the brightest young stars in British film taking the lead roles. Or the film may actually be a letdown that fails to transform something vital from the book, an essence of emotion impossible to replicate in a condensed screenplay tying together all the elements of a well crafted novel. Your enjoyment of the film is likely to rest on how well you know the book. Regardless of the success of the adaptation Carey Mulligan looks set to deliver another commanding performance that could be in line for recognition come Oscar time and Keira Knightley may enjoy a return to form, despite looking flat in comparison to Mulligan in the trailer. In one of a number of upcoming high profile roles, new Spiderman Andrew Garfield will also raise his status as a capable male lead with this picture and the performances of the stars alone ought to make this more than watchable.
Untitled Sherlock Holmes Sequel
Release Date: December 2011
Starring: Robert Downey Junior, Jude Law, Stephen Fry, Russell Crowe/Brad Pitt (rumoured)
Director: Guy Ritchie
Synopsis: Holmes returns after exposing the supernatural plots of Lord Blackwood, reportedly to do battle with the elusive Professor Moriarty in this anticipated sequel.
Will it be any good?: Stephen Fry seems the perfect casting choice as Sherlock’s lazier and more brilliant older brother Mycroft. Fry himself announced the news this week in a radio interview, confessing the role would be fantastic fun to play and his personality does seem perfectly suited to the light hearted tone of Ritchie’s first film for the Victorian sleuth, whilst simultaneously lamenting a lack of meatier roles for him to get his teeth into as an actor. Of course it’s too early to pass judgement on many other crucial aspects of this sequel. If it can retain the chemistry between Holmes and Watson and Hans Zimmer’s delightful, inventive soundtrack then it will have a strong foundation for success, only improved by the announcement of Fry joining the cast. A suitably adventurous and clever caper shall have to be devised to justify the return of Moriarty. Big names such as Crowe and Pitt being linked to the role alone will not ensure the film’s blockbuster success in a difficult Christmas release slot. And with the BBC’s own well received modern adaptation set to appear again before Ritchie’s second effort, will the public still have enough love left for Sherlock, particularly one still grounded in Victoriana?
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