Top 10 romantic movie moments

Regardless of the genre or time period, a romantic bond between the two main characters in a film has conquered the hearts of its audience. From the heartbreaking scenes to dramatic declarations of love, each of the films below has its own moment which really stands out in time as a romantic on-screen moment. Interestingly, for half of them the lovers sadly do not end up together at the end of the film. For Valentines Day, here is my top 10 romantic movie moments- most of them familiar:

1. The Notebook- "It still isn't over!"
There's something about reconnected lovers that seems to make for a great narrative- Noah and Allie, young lovers, are separated for a number of years, but when they reunite sparks fly and their passion is brought to the surface. This scene takes place in the pouring rain soundtracked by dramatic strings but it's a cliché that difficult to resist.


2. Romeo + Juliet- Meeting through the fish tank
Baz Luhrmann's stunning cinematography is showcased at this point of the film when the famous young lovers meet. He has drawn from Shakespeare's original imagery to depict the fantastical costumes and aquarium setup, and a young DiCaprio and Claire Danes naturally communicate the youthful innocence of first love. Soundtracked by Des'ree's 'Kissing You', it's both emotionally charged yet so simple.

3. Pride and Prejudice- "Surely you must know, it was all for you."

The 2005 adaptation of Austen's much-loved book saw a strengthening of the developing romance between Elizabeth Bennet and the classic heartbreaker Mr Darcy. In this scene, the troubled lovers, who have previously refused a relationship due to their own pride, now realise that they are unable to control their sensitivities. They meet each other at dawn in the fields and Mr Darcy articulates almost too perfectly how he feels - a tender monologue that would melt anyone's romantic doubts.

4. Love Actually- "To me, you are perfect."
A more unconventional love story, the narrative that seemed the most poignant was Mark's muted declaration of love to his best friend's new wife Juliet. In a quiet yet theatrical manner, he progresses through hand-written posters explaining his unrequited feelings. What makes this moment so romantic, is that he pronounces his timeless adoration, but accepts its impossibility- an admirable act.

5. Titanic - "I'm flying"
One of the most successful and popular romantic movies of all time, Titanic plays upon the classic rich-girl-falls-in-love-with-the-wrong-poor-boy setup. Jack woos her with his daring and grand gestures, and he is absolutely in control during the entire scene. Perhaps it's Rose's ultimate trust in this stranger or the audience's knowledge of the miserable ending that makes it so touching. It's also a sensational first kiss.


6. Moulin Rouge!- Come What May

The only thing better than an on-screen heart-wrenching dialogue is the same scene performed in a musical. In the film's dramatic finale, courtesan Satine accepts her sincere love for poet Christian and the two sing a duet that reaches astronomical heights in terms of stage presence, chorus involvement and an emotional climax. When lovers make up after a fight on-screen, it just can't happen without fireworks, literally.


7. Breakfast at Tiffany's- "I don't want to put you in a cage. I want to love you."
Sassy New Yorker Holly Golightly finally submits to the romance of her neighbour Paul in the final scene of the movie. Holly insists that she doesn't believe in commitment but her vulnerable, confused self finally admits that she can't live without the people that she loves. This scene is a classic Audrey Hepburn moment and a romantic gesture imitated in various other movies and television shows.


8. Say Anything
One of John Cusack's most renowned roles as romantic underacheiver Lloyd brought a sense of seriousness and maturity to the typical teenage summer romance. Early on, school captain Diane rejects his relationship proposal and Lloyd spends the majority of the film depressed and broody. It's when he finally gets himself up again and is determined to pursue his passion that his boldness oozes into every bit of dialogue and action. "What I want to do for a living- is I want to be with your daughter," the 19-year-old exclaims. And who can forget the famous boombox moment?

9. 10 Things I Hate About You- Patrick's serenade
It seems ridiculous that such romantic drama would occur in a high school setting but there were no complaints when Heath Ledger's character bursts into song to serenade a stubborn love interest. He plays the classic bad boy in the '90s film and so its even more surprising that he takes it upon himself to perform a ballad in public. This scene shows a romantic moment a little more comedic than most.

10. The Way We Were- "Your girl is lovely, Hubble."
Finally, one of the most melancholy love stories- the actual romance itself is short and sweet, but the unpredictable twists and turns of life ultimately separate the animated Katie and Hubble. At the end of the film, the couple meets - Katie now a single mother to their young daughter, and Hubble engaged to another woman. Barbra Streisand running her fingers through a young Robert Redford's hair shows that their relations are not completely over, and the wistful titular theme song in the background makes the moment even more pitiful.

Northeast Party House release 'Empires' music video

Northeast Party House recently released their video for single Empires –the second track off their self-titled debut EP which was released last December. The Melbourne-based band is an EMI partner, signed with label Stop and Start and winner of 2011 triple j unearthed. They recently wowed audiences at Falls Festival with their energetic live performances and infectiously catchy tunes. It’s sort of like Talking Heads meets Gorillaz –with a little bit of cliché 80’s electro.

Director Dylan Wiehan has gone for a fragmented effect in the music video; there’s no narrative or controversial symbolism as such, but more an entrancing encapsulation of the band’s dreamy synth for screen. It depicts the band playing ‘Empires’ through soft focus, where they recorded in the busy Australian woodlands. It can look unimaginative, filming a band in their rehearsal space, but I was taken by it. In fact, with the video on mute, it’s almost like you could be watching another music video for an Australian indie rock band.

The camera movement is still but deliberate, and each band member gets a focus point. However, vocalist Zach Hamilton-Reeves has the most engaging expressions, and the others seem absentminded and difficult to connect with. Wiehan has primarily revolved the video on the instruments, after each still we return via selective focus to the sci-fi keyboards, deep bass and upbeat drumming.

There are no disguises; with the natural light emerging from the windows of their forest cabin, the band appears as they are, dressed in casual weekend clothes, with a personal twist. It’s like a group of teenagers jamming, but with grown-up sensitivity. And when Hamilton Reeves’ is singing the hook “we never fought, we never tried”, you can see the articulation of regret on his face. The subtle moody atmosphere continues throughout the clip, and can seem subversive for a song that’s quite low-key in its dynamics and at first a cheerful dance track.

Northeast Party House is touring Australia this month, along with Nantes and millions, for the Triple Treat Tour.

Published on Purple Sneakers.

Odd Future live at the Enmore Theatre

24/01/12

It’s not often that a crowd is told to chant ‘nigga’ on cue over and over, but for Odd Future it’s just a part of their provocative act. The group headed down under for Big Day Out, and their much anticipated sideshow gave fans a live taste of the west coast charisma and controversial lyrics that have accelerated fame via internet for the young troublemakers.

At only 20, Tyler, The Creator, frontman and LA personality, captures his audience with his out-of-control dancing and dark humour. The audience was gulping it all up – bouncing when instructed, settling down during the lyric-laden verses and going nuts at the bass-heavy drops. At one point, Tyler even got OF’s funky female DJ, Syd Tha Kid, to restart a song: “No, no, we gotta do the drop properly!”

The rap collective seems slightly deranged, but with their energetic and mischievous hip-hop their stage show is sloppy but seamless. Bouncing around with tremendous energy, the group performs their own sets with passion and anger, leaving the audience in awe at their acapella rapping at full speed- Left Brain looks around -” Y’all couldn’t keep up!” “I’m too intelligent.” With no support act, the crowd was left to wait in suspense while the stage was progressively filled with smoke and hypnotic lighting. In suspense, shouting “wooolllf gang- gollfff wang” a short intro by Syd kicked off the riot of OF’s two-hour set including tracks French!, Transylvania and Sandwitches.

Since their performance at last year’s Vivid Live, OF has gained more fans and some young, angry ones at that- with plenty of kids packing into the tight venue to show off their knowledge of the free-thinking lyrics. There was a mixed audience- with weed-smoking hipsters, hip hop bros and trendy girls all doing their own thing and all dressed similarly in OF merch t-shirts. No one was worried about the absence of mysterious member Earl Sweatshirt by the time Tyler got to his hit track Yonkers with the crowd unleashing all frenzy and anger brought with them to the show.

Ending with Radicals hyped up the crowd to unpredicted levels, even rapper Hodgy Beats was getting aggressive in his dance moves. But when the crowd chants along to the little-less-than-subtle chorus it’s clear that this is all an act. Odd Future Wolf Gang Kill Them All know that their inherently white audience doesn’t actually ‘burn shit’ and ‘kill people’ but it’s entertaining enough to let loose and pretend to be a rebel for the night.

Published on Purple Sneakers.

Film Review - "The Descendants" directed by Alexander Payne

The Descendants (2011)            ★ ★ ★ ★ 

Recent winner of the Golden Globe for Best Motion Picture –Drama, The Descendants is a summer film which reminds us that sometimes it’s okay not to exist as an ideal, model family –and its descendants often stray from their allotted path. It’s not altogether a happy ending for the film, although there is a sense of resolution from the rippling drama running throughout it. Director Alexander Payne maintains the motif of Kaui Hart Hemmings’ novel- with the protagonist reminding us that families are like an archipelago (take Hawaii- for example), closely clustered yet inherently individual.

The film begins rather suddenly, with Matt King (George Clooney) sitting by his wife Elizabeth (Patricia Hastle) in hospital, as she lies unconscious (and in a powerful coma) before him. Meanwhile, he is responsible among his extended family for deciding what will become of the Hawaiian virgin land on pristine Kauai which has remained in the family trust for 150 years, and is now too much of a burden to hold on to. All this unfolds while Matt, alone, juggles raising his tricky 10-year-old daughter Scottie (played by Amara Miller) and dealing with his misbehaving 17-year-old Alex (of TV fame Shailene Woodley, who received a Golden Globe nominee for her role as supporting actress). The story is mainly filmed from Matt’s eyes, but through its portrayal of generational interactions it tackles the complexities and intricacies of family life, anywhere really.

The entire film is seeping with raw emotion, tension and temperamental intensity. George Clooney’s performance is worthy of his Golden Globe win (Best Actor- Drama). His impassioned soliloquies throughout the story seem difficult to perform, yet are executed theatrically and with dignity. It’s almost as if his enraged frustrated rants at his comatose wife could be performed on stage with the same level of personal involvement for the audience. In fact for a drama, The Descendants is particularly melodramatic, but it does not seem artificial. These are real family crises. Even Shailene Woodley delivers her lines as angsty 17-year-old Alex with an acute intensity and energy, swearing enough to shock the audience into wondering how she gets away with it.

The cinematography is well executed, breaking up the heated dialogue-laden moments with silent landscapes, allowing the audience to contemplate and deliberate while the characters on the screen digest the often harsh and hard-hitting conversations. Hawaii, as a setting, complements the film’s atmosphere with stunning backdrops suiting the active easy-going lifestyles of the characters but also acting as a classic antithesis to the total dissonance of the King family life. It’s hard not to get sentimental –even close friends are dragged into the swirling mess of misunderstanding and madness surrounding Elizabeth King. And to top it all off –before the accident she was having an affair.

Comic relief is aplenty and sometimes it’s hard not to laugh at Clooney’s over-developed infuriation at his impossible circumstances. Alex’s slightly dopey friend Sid (Nick Krause) delivers his inappropriate butt-ins with spot-on timing and their blatantly offensive manner is a recipe for chuckling. As the film progresses we delve deeper into the characters and their relationships, and there are several heart-warming moments that will see this film become a “timeless classic” – as Alexander Payne claimed when he accepted his Golden Globe. One thing is for sure; it’s a must-see, or at least an excuse for a good cry.

Arctic Monkeys live at the Hordern Pavilion

12/01/12
Call it revived British invasion- all the same the Arctic Monkeys live set at the Hordern this January was less a pyrotechnic rehearsed stage performance than a Cavern Club rock show. Fans of the Sheffield foursome packed into the dark snug venue to be immersed in smart and articulate Brit rock. The band has abandoned its mod aesthetic, which could be attributed to their initial success, for a more spunky rock look- with Alex Turner and his band mate guitarist James Cook decked out in Grease-inspired leather gear and slick haircuts. The Monkeys really took advantage of the live show to bring out the most from their instruments and deliver more than a rendition of their studio-recorded tracks.


The Arctic Monkeys have come a long way from their first Australian performances in 2006- now cool and collected, and very comfortable in live settings. “We love coming down under! The monkeys love coming down under!” Alex Turner exclaims in between tracks- constantly referring to the crowd as Sydders! Apart from the predictable banter: “Are you having a good time tonight, Sydders?” and sense of effortlessness on stage – (Fair enough, the band only had to stand on stage to receive unending applause) – the Monkeys kept their audience enthusiastic and satisfied.

Their list of tracks came to a round number of 21 and the set list pleased fans with a mélange of old and new. It is primarily the Suck It and See tour but the Arctic Monkeys weren’t afraid to return to their much-loved and played-to-death old songs. Early tracks were greeted with roars of applause- including hat trick Brianstorm, The View from the Afternoon and I Bet You Look Good On The Dancefloor. The band has previously admitted that they are not quite the ‘sing-a-long’ band but this did not deter the audience from singing along to EVERYTHING. Even, and especially, drummer Matt Helder’s song Brick By Brick on the 17^th repetitive lyric ‘brick by brick’. Oh well, we’ll leave the words to Turner.

Some lyrics are nonsensical, some are witty – but whatever strings of playful imagery or alliterative rhyme the audience was chanting it all right back. The vaguely unpopular third album Humbug actually gave the band some great live material- maybe because they aren’t yet sick-to-death of performing it, or are revel in its fiery lyrics and heavy tunes. Pretty Visitors stood out for me-it is a dark, dynamic and lyrical song and was amplified in a live performance. The show had great atmospheric lighting, matching the energy of the crowd and performers. The Monkeys lingered after each track, replacing breaks with drawn-out endings, intermittent pauses and false starts.

Ending the main set with When The Sun Goes Down showcased how the band works well together- with Cook and Turner’s suspenseful guitar strumming in sync with a deliberative bass line and Helder’s strong and vigorous drumming, which holds the band together. Turner is definitely the ringmaster but all are talented musicians, especially showcased during the Library Pictures solo.

The Arctic Monkeys blend lovable youthful spirit and dark brooding attitude. They have harnessed the sensitivity of ‘70s romantic ballads, the noisy submerged sound of ‘90s grunge and utter control over their instruments to create a musical style and execution that is all but their own. In a live show they ensure a smooth, flowing set with all the energy required to distract a crowd from their sweaty, unpleasant surroundings.

Fleet Foxes live at the Sydney Opera House

03/01/12
Seattle sextet Fleet Foxes is touring Australia this summer but it’s their sold-out performances at the Sydney Opera House that got them most excited, with drummer Josh Tillman exclaiming: “Do you guys actually come here often? Is that what Sydney people do?” and likening playing at the house to being at the Taj Mahal. The Concert Hall proved to be the perfect venue, maintaining a sense of intimacy which a FF concert fosters and providing the ultimate acoustics for a live show purely about the music.

Fleet Foxes have achieved their own sound in the midst of a folk-hippie revival. It is not often that a band of humble proportions receives a standing ovation at a major city landmark. They are versatile as musicians – each member is not exclusively tied to one instrument, bringing out flutes, dulcimers and Tibetan singing bowls during the show- and skilled at performing their multi-harmonised songs. The vocals seemed to be drowned out a lot of the time, with lead singer-songwriter Robin Pecknold straining to be heard above the layered sounds in the hall- which is a shame as the lyrics were lost to any new listeners, especially the more poignant ones of 2011’s Helplessness Blues.

The lighting for the show was simple but effective; at climactic parts of the songs it shone into the audience. The concert focused on the music, with the patient audience sitting silently while the artists shifted around instruments between tracks. Background graphics enhanced the viewing experience, ranging from nature scenes to psychedelic patterns. However, the folk enthusiast audience was pleasurably immersed in the sound of FF’s dense vocal arrangements and Pecknold’s masterfully created music.

The set list included new songs such as Battery Kinzie and Grown Ocean as well as the much-loved Your Protector, Blue Ridge Mountains and White Winter Hymnal. The opening strums of 2008 favourite Mykonos early on in the show let the audience know that the band wasn’t about to abandon its classic tracks. Pecknold was in the spotlight for most of the concert but the live setting allowed the audience to see the dynamics of the complex music, with the six musicians performing well together and skillfully in their own right. The songs flowed beautifully into each other but it was the new track The Shrine/An Argument that stood out for me – even receiving a cheer when it began.

Overall a more humble and traditional approach to stage performance worked well for Fleet Foxes, whose unique music and exceptional talent was deeply expressed to an audience of devoted fans.   

Film Review - "The Iron Lady" directed by Phyllida Lloyd

The Iron Lady (2011)            ★ ★ ★ ★

Meryl Streep performs an almost one-man show in this insightful Margaret Thatcher biopic. Initially, Streep portrays Thatcher as a weak octogenarian who becomes the central point of the entire film. Although we follow Thatcher’s rise to power from her pre-university life chronologically, the film frequently returns to an isolated and dependent woman reflecting on her past life. With hallucinations triggered by the smallest noise or vision, it’s a question of the extent to which one is formed by their background and past actions.

What the film does well is explore how Margaret Thatcher did not seek consensus in politics. Streep’s deliberative speech and stern expressions portray an assertive and determined public woman. The insight into turbulent parliamentary life, [clearly dominated by men at this time], draws attention to the quieter, more secretive, and dangerous, backchat behind the scenes. The film can be indulgent in the way that there is time to demonstrate how certain decisions were informed at the time, both according to Thatcher’s public and private life.

The position of women, especially those of a lower social class runs throughout the film into the conflicts caused between family and political life. Although she remains in a close relationship with her husband Denis (played by the eccentric Jim Broadbent), there is a period of withdrawal when Thatcher seems to be overwhelmed by the scale of her role as Prime Minister. The interweaving of footage from past and present and various mashed news montages, shows just how influential ‘The Iron Lady’ was on the global stage.

Thomas Newman’s score (Academy Award Winner Best Music –American Beauty, Finding Nemo) adds elements of gravity and sincerity to the biopic. It certainly deserves a commendation of some sort as I felt that it added emotion to a story of a figure who is known for her severity and almost brutality. There is much to admire about the passionate and determined protagonist although the history surrounding Thatcher’s story is controversial. The Iron Lady is a great informative watch which is sure to win awards for its dramatic conviction and filmic complexity.