Cannes Film review: 'Wonderland'
Michael Winterbottom's "Wonderland" is one of those "takes-place-in-one-weekend," "Short Cuts"-inspired ensemble films. With exactly 13 characters to keep track of and climaxing with motorcycle crashes and babies being born, it is not, however, tarted up with a lot of irksome, facile humor or sleazy, obsessive behavior by the characters.
A jury member last year whose "Welcome to Sarajevo" was in competition two years ago, Winterbottom returns to Cannes with "Wonderland", which has good prospects for domestic distribution and might come away from this year's competition with honors. The film was made almost simultaneously with the director's "Old New Borrowed Blue", due for release later this year by Miramax.
Filmed with mostly hand-held equipment in Super 16 and splendidly blown-up to 35mm, using natural lighting and no professional extras, "Wonderland" appears at first to be another film from Dogme 95 -- the minimalist manifesto championed by Danes Lars von Trier and Thomas Vinterberg, who both had features in last year's competition.
But Winterbottom imposed his own unique set of limitations, shooting guerrilla-style -- with a very small crew in the real South London locations indicated by the script -- including a pub, beauty parlor, soccer stadium, trains and sidewalks, with no constructed sets and few standardly-dressed. Likewise, first-time screenwriter Laurence Coriat's easy-flowing scenario is the bones, brains and heart that the cast and director fleshed out during the informally structured shoots.
Not as bleak as Robert Altman's widely influential "Short Cuts" or acidic as last year's Cannes' hits "Happiness" and "The Celebration", "Wonderland" centers on a family where the various siblings and parents generally go their separate ways. While there is plenty of drama and romance, a dab or two of kismet and a little nastiness, the film's realistic approach to storytelling and the strong performances mesh well with Winterbottom's stylistic flourishes.
Like "Happiness", this film features three sisters in various degrees of unhappiness. Nadia (Gina McKee) longs for love but goes on blind dates with the likes of Tim (Stuart Townsend), a seductive Dubliner playing the field. Debbie (Shirley Henderson) works in a salon and has an 11-year-old son (Peter Marfleet), who goes off for an eventful weekend with his volatile, banished dad (Ian Hart). Molly (Molly Parker) is the one about to have a baby and a painful crisis with her husband (John Simm).
Much attention is paid to the sisters' parents. Mother Eileen (Kika Markham) is driven to a heinous act by her sluggish husband, Bill Jack Shepherd), and a neighbor's constantly barking dog. Seen in only a few scenes is their carefree son Darren (Enzo Cilenti) enjoying his 21st birthday with girlfriend Melanie (Sarah-Jane Potts). Neighbor Donna (Ellen Thomas) has an intimate moment with Bill and her quiet son Franklyn (David Fahm) figures in the upbeat coda after much Sturm and Drang in the city.
The film's visual style is adventurous and pleasing in widescreen, with the washed-out colors and grainy imagery giving one a fresh look at the city. Michael Nyman's soaring score is a classy, welcome non-Dogme indulgence.
WONDERLAND
PolyGram Filmed Entertainment and BBC Films
A Kismet Film Co. and Revolution Films production
CREDITS:
Director:Michael Winterbottom
Screenwriter:Laurence Coriat
Producers:Michele Camarda, Andrew Eaton
Executive producers:Stewart Till, David Thompson
Director of photography:Sean Bobbitt
Production designer:Mark Tidesley
Editor:Trevor Waite
Costume designer:Natalie Ward
Music:Michael Nyman
Color/stereo
CAST:
Debbie:Shirley Henderson
Nadia:Gina McKee
Molly:Molly Parker
Dan:Ian Hart
Eddie:John Simm
Jack:Peter Marfleet
Eileen:Kika Markham
Bill:Jack Shepherd
Running time: 107 minutes...
A jury member last year whose "Welcome to Sarajevo" was in competition two years ago, Winterbottom returns to Cannes with "Wonderland", which has good prospects for domestic distribution and might come away from this year's competition with honors. The film was made almost simultaneously with the director's "Old New Borrowed Blue", due for release later this year by Miramax.
Filmed with mostly hand-held equipment in Super 16 and splendidly blown-up to 35mm, using natural lighting and no professional extras, "Wonderland" appears at first to be another film from Dogme 95 -- the minimalist manifesto championed by Danes Lars von Trier and Thomas Vinterberg, who both had features in last year's competition.
But Winterbottom imposed his own unique set of limitations, shooting guerrilla-style -- with a very small crew in the real South London locations indicated by the script -- including a pub, beauty parlor, soccer stadium, trains and sidewalks, with no constructed sets and few standardly-dressed. Likewise, first-time screenwriter Laurence Coriat's easy-flowing scenario is the bones, brains and heart that the cast and director fleshed out during the informally structured shoots.
Not as bleak as Robert Altman's widely influential "Short Cuts" or acidic as last year's Cannes' hits "Happiness" and "The Celebration", "Wonderland" centers on a family where the various siblings and parents generally go their separate ways. While there is plenty of drama and romance, a dab or two of kismet and a little nastiness, the film's realistic approach to storytelling and the strong performances mesh well with Winterbottom's stylistic flourishes.
Like "Happiness", this film features three sisters in various degrees of unhappiness. Nadia (Gina McKee) longs for love but goes on blind dates with the likes of Tim (Stuart Townsend), a seductive Dubliner playing the field. Debbie (Shirley Henderson) works in a salon and has an 11-year-old son (Peter Marfleet), who goes off for an eventful weekend with his volatile, banished dad (Ian Hart). Molly (Molly Parker) is the one about to have a baby and a painful crisis with her husband (John Simm).
Much attention is paid to the sisters' parents. Mother Eileen (Kika Markham) is driven to a heinous act by her sluggish husband, Bill Jack Shepherd), and a neighbor's constantly barking dog. Seen in only a few scenes is their carefree son Darren (Enzo Cilenti) enjoying his 21st birthday with girlfriend Melanie (Sarah-Jane Potts). Neighbor Donna (Ellen Thomas) has an intimate moment with Bill and her quiet son Franklyn (David Fahm) figures in the upbeat coda after much Sturm and Drang in the city.
The film's visual style is adventurous and pleasing in widescreen, with the washed-out colors and grainy imagery giving one a fresh look at the city. Michael Nyman's soaring score is a classy, welcome non-Dogme indulgence.
WONDERLAND
PolyGram Filmed Entertainment and BBC Films
A Kismet Film Co. and Revolution Films production
CREDITS:
Director:Michael Winterbottom
Screenwriter:Laurence Coriat
Producers:Michele Camarda, Andrew Eaton
Executive producers:Stewart Till, David Thompson
Director of photography:Sean Bobbitt
Production designer:Mark Tidesley
Editor:Trevor Waite
Costume designer:Natalie Ward
Music:Michael Nyman
Color/stereo
CAST:
Debbie:Shirley Henderson
Nadia:Gina McKee
Molly:Molly Parker
Dan:Ian Hart
Eddie:John Simm
Jack:Peter Marfleet
Eileen:Kika Markham
Bill:Jack Shepherd
Running time: 107 minutes...
- 5/17/1999
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.