It is one of the best films in the competition at Cannes this year: Bennett Miller's Foxcatcher, based on the true story of a Du Pont family member who lured an Olympic wrestler (and his brother) to his estate to form a wrestling team, an invitation that led to tragedy.
I walked away from Daniels' film deeply moved. As obvious as this film can be in its messages -- bigotry and racism: bad -- it still touches on moments of history from the recent past that need to be recalled, over and over.
Plucked from the rituals of my satisfying but ordinary life, I was time's fugitive, granted six days to witness and experience sights and sounds (and fragrances, like the lemon verbena that haunts me still) that I never expected to encounter.
In hindsight, perhaps the only regret I really hold on to in all my years of acting is turning down the chance to play Arthur in Josh Logan's Camelot. It was 1967, Vanessa Redgrave was set to co-star as Guinevere, and I was terrified of musicals.
Unfinished Song is set in England. But this is not a pastoral view of England set in rolling hills or a period piece in frilly bloomers. This is the other England that one rarely sees on the silver screen.
At 74, his eyes are still exceptionally blue and a little bit mischievous. He sits calmly, listens to a question about how often he is offered roles like the one he plays in Unfinished Song, and smiles.
It's time to wake up, speak out ... it's the right thing to do. It won't change the years so many men have lost in Guantanamo, but it is a move towards humanity, what is right and the law as the Constitution states.
The British import, which premiered in the U.S. on PBS Sunday night, transplants Downton's formula for success (British period drama with plenty of plot twists) from the English countryside in the early 1920's to a working class neighborhood in 1950's London.
Magnificently reconceived and directed by Ralph Fiennes, this new adaptation of Coriolanus uses Shakespeare's language in a tightly condensed screenplay by John Logan that grips the audience by the throat within the film's first 20 seconds and never lets go.