All five films cover a wide spectrum of time, settings and history. Confessions of a Dangerous Mind sees Sam Rockwell with yet another stellar performance as he portrays the arguable inventor of reality television Chuck Barris and in an almost parallel time frame we see David Strathairn's magnificent performance as Edward R Murrow as a CBS News Producer embroiled in a tale of whether to simply report the news or in fact challenge it in Good Night, and Good Luck. Leatherheads is Clooney's weakest film to date but is a fun, screwball comedy with it's tongue firmly in it's cheek before a stellar cast produce a wonderful, if flawed, take on USA politics in the 21st Century in The Ides of March. His cannon of film direction was added to in 2014 with another flawed but fun take on World War II and the recovery of valuable artwork in The Monuments Men.
This particular film blog is slightly different from my others in as much as I've started each film appraisal with a brief overview of George Clooney the actor, as he stars in every one of the five films he has directed. George is of course more famous as an actor than as a fledgling Director with brilliant portrayals in eponymous films such as From Dusk til Dawn, Out of Sight, The Thin Red Line and Three Kings in the 1990's through to O Brother Where Art Thou, The Perfect Storm, Ocean's Eleven, Solaris, Syriana, The Good German, Michael Clayton and The Descendants since the turn of the century. I am an unabashed George Clooney fan and count myself fortunate to have seen both these films, his portrayals and interwoven throughout, his five directorial films.
George is also a prolific Producer alongside his friend Steven Soderbergh in their "Section 8" production company. This was recently disbanded and replaced by Smokehouse Productions with his friend and writing partner Grant Heslov. George has specifically produced or executive produced Argo, The American, The Men Who Stare at Goats, The Informant and A Scanner Darkly amongst many others. All films not previously noted here but all films I've seen and naturally, heartily recommend. George is also an outspoken critic on American politics and an activist for many humanitarian charities.
It is not my intention to provide huge spoilers for the coming five films. Rather, my purpose is to give a flavour for the films as I do not want to spoil these great films for you in any way. Moreover, all of my film blogs are an appreciation of the film's crafted by a wonderful Director and a thorough recommendation to suspend your disbelief and enjoy his creations. I write all of my blogs from a fan's perspective and always aim to give just 5-10% of the film as a taster! I hope you enjoy.
Confessions of a Dangerous Mind (2002)
"I'm happy to report you fit our profile, Mr Barris"
Jim Byrd Does he exist? Is he a figment of Chuck Barris' over eager imagination? I'm leaving this profile deliberately vague so as not to spoil or hint at Clooney's character involvement in the film although it is established very early on. An accomplished and stylish performance from Clooney both in front of and behind the camera.
Based on Chuck Barriss' own memoirs and book "Confessions of a Dangerous Mind", with a screenplay from legendary screenwriter Charlie Kaufman this is a real joy of a film, an immediate firm favourite of mine on release in 2002 and a real tribute to George Clooney in his first directorial role. The film became an immediate favourite of mine due in part to Charlie Kaufman's eclectic and bizarre screenplay, a central performance from Sam Rockwell that is truly wonderful and helmed in a slick, precise and fun way by Clooney. Scenes constantly dissolve and melt both into the next scene and also from one era to another. There is a constantly moving story, aided by a seemingly moving and rolling camera from Clooney as he follows the action slowly and methodically as the narrative unfolds. As you'd expect from a Charlie Kaufman screenplay, the narrative is never static and rooted in one era or setting hence the timeline is fractured and twisted, from 1981 at the film's beginning back to 1940 but quickly into the 1950's and 1960's. Great credit is due to Clooney's behind the scenes team of Editor (Stephen Mirrione), Cinematography (Newton Thomas Sigel) Costume Design (Renee April) and especially Alex Wurman for a wonderful original music score that spans the decades of the narrative and beautifully bubbles away under the surface of the story. Interspersed with the original music are many timeless classic tracks from the ages such as "Palisades Park" (written by Chuck Barris), "Won't Get Fooled Again" by The Who, "If I had a Hammer" by Peter, Paul and Mary (and brilliantly used in the film) through to "Raindrops Keep Falling on my Head" by Burt Bacharach and "There's No Business Like Show business" by Rosemary Clooney over the closing credits.
Chuck Barris was a TV Executive and Producer who it can be argued invented the model of Reality Television with his eponymous ideas of "The Newlywed Game", "The Dating Game" and "The Gong Show" among many others. These original ideas have, for good or bad, entered into the television Zeitgeist and spawned numerous spin off shows that continue to this day. Always craving for that one original idea, one original television game show, this 109 minute biographical film of his life is a fun, darkly funny and exciting journey from the early 1940's to 1981 however the majority of the film is set within the liberal and hippy tinged 1960's and early 1970's. With the heavy involvement of Chuck Barris himself throughout the screenplay adaptation process through to the filming itself it paints a picture of Barris in a very favourable light although not always so and early on it is established that he leads a very different and very dual life away from seeking that one unique and original idea for television. But more of this later.
The film is bookended by three very brief hotel scenes which I have dissected below, however these scenes only account for 5 minutes of total screen time and are not in strict narrative order. You'll see what I mean by that when you see this film. In between is a genuine gem of a film full of intrigue and suspense as we follow a man's ascent to the pinnacle of his career and his almighty descent on the other side. The film begins with a disclaimer "This film is taken from Mr Barris' private journals, public records and hundreds of hours of taped interviews" and from this disclaimer dissolves into a hotel room with a naked, dishevelled and scruffy "Chuck Barris" (Sam Rockwell) narrating his life as a foretaste for his memoirs. Unhappy, desperate and paranoid it is both a portent for Barris' descent into madness and chaos and a segue into the first of the three brief hotel scenes:
"Penny" (Drew Barrymore) is outside Chuck's hotel room, desperate to be re-united with her friend. "Jesus. How'd you find me?" asks Chuck to which Penny laughs and confirms she'd received his letter on the hotel's letter headed paper.
A quick cut to a distinctive shot of just Chuck's eyeball through the hotel door spyhole but Penny is driving the conversation both in terms of his shabby surroundings and that she desperately wants him to return with her to California and to get married. Penny warns Chuck that she won't hang around forever for him and that she loves him and again wants to marry him. The camera now cuts to a still naked Chuck inside his shabby room, his hair overgrown, a long beard and looking unclean and unkempt. Chuck is part way out of shot as the focus is on the shabby empty room except for a dartboard which is in the centre of the frame. Quick cuts between Chuck and Penny as they share this brief conversation which ends with Chuck unable to fully vocalise an answer to Penny but instead whispers "Penny" repeatedly against the frame of the door before Penny, tired of waiting, walks away.
The second brief hotel scene starts again with Penny outside Chuck's hotel room but quickly dissolves into the room and a scene of utter filth and degradation, of upturned furniture and destruction. Quick cuts move into a zoom on Chuck, sitting with his back to the door, still naked and markedly bloodied and bruised.
The third and final brief scene sees a fresher faced and happier Chuck narrate a melancholic ending to the manuscript for his book.
In addition to Sam Rockwell's superlative performance as Chuck Barris and Director Clooney's much smaller role as Jim Byrd, Drew Barrymore as Penny deserves huge plaudits for her performance. Aside from the television shows and the nefarious activities already alluded to, this is a genuine love story at heart and so brilliantly played by Barrymore alongside Rockwell. As with the flashbacks in the film, their relationship mirrors one of the many motifs of the film, that of light blended with dark, the good with the bad, the ultra positive matched against a horrific negative. Despite the joyous nature of the film as a whole, this blending of highs and lows is a constant throughout and very much a part of Chuck and Penny's relationship so aptly demonstrated by their tender yet quickly explosive game of scrabble. Being a central strand of the narrative there are numerous more examples of their love story. Julia Roberts plays "Patricia Watson" an associate and friend of Chuck's and their early lovemaking scene is a hilarious gem of a brief scene. Rutger Hauer plays "Keeler", another associate of Chuck's but as with Patricia Watson above, I'll leave his role particularly vague for fear of plot spoilers. As a side note, there are numerous cameos and smaller roles throughout the film with Maggie Gyllenhaal as "Debbie" (hilarious, yet awkward lovemaking scene with Chuck!) and Matt Damon "Matt" and Brad Pitt "Brad" all feature. As do numerous real life people and indeed characters from Chuck Barris' various game shows. Alongside Barris himself, Dick Clark, Gene Gene "The Dancing Machine" and "The Unknown Comic" all have brief talking heads scenes as do regulars from The Gong Show and The Dating Game, including one who telling states "Even though he's a prick, he's a good guy too".
Included throughout is stock footage of the time from actual Dating Game and Gong Show contestants through to President Regan and the Cold War which is a significant theme as we follow Chuck's descent into paranoia and unhappiness. A love story at heart and one that will charm you both as a love story, a life story and a story as a whole so very well told by screenwriter Kaufman and Director Clooney. The film has a continually rolling motion to it, never stopping for elongated dialogue or exposition and from the day I saw this to eleven years later remains crystal clear, vibrant and darkly funny. As Barris admits himself, he polluted the airwaves with puerile entertainment, but entertainment that continues to pollute today via Britain's Got Talent, X Factor, Take Me Out and formerly Blind Date, all spin off shows that are rooted in Chuck Barris' early ideas for a unique game show that can be sold to national television producers.
A wonderful life story brilliantly portrayed by Sam Rockwell who has since this performance also provided stellar portrayals in Welcome to Collinwood, The Assassination of Jesse James By The Coward Robert Ford, Moon and Seven Psychopaths amongst many others. Rockwell was Clooney's first and only choice to play Chuck Barris and you can see why.
Good Night, and Good Luck (2005)
Another George Clooney film that became an instant favourite with me, the film is bookended with a speech made by "Edward R Murrow" (an incredible performance from David Strathairn) at a Gala Evening in his honour in 1958. A salute to his incredible achievements in television broadcasting and one in which he makes this telling pronouncement "We are currently wealthy, fat, comfortable and complacent. We have an inbuilt allergy to unpleasant or disturbing information. Our mass media reflect this. But unless we get up off our fat surpluses and recognise that television in the main is being used to distract, delude, amuse and insulate us, then television and those who finance it, those who look at it and those who work at it, may see a totally different picture too late".
Filmed in colour but reverted back to Black and White to reflect the time period, the opening speech itself, albeit brief, encapsulates everything that is impressive about this film, the direction from Clooney, the cinematography from Robert Elswit, a stellar cast of quiet yet mightily impressive performances and numerous themes of the time. Firstly Clooney. His second film but far different from Confessions of a Dangerous Mind as this film has a quiet, purposeful and perhaps stoic air about proceedings. His slow, flowing camera work is again evident as is the merging and dissolving of scenes into one another, often with a continuing narration or conversation from the previous scene which really propels an already intriguing and engrossing story. Also reflective of the time and film making of the time, many scenes fade to black or are segued by an important date but whereas Confessions of a Dangerous Mind was frenetically edited here, as with the film as a whole, it is quiet with a gentle flow from one scene to another. This is in no way a criticism of returning Editor Stephen Mirrione, more an appreciation of the film's style and quiet purpose. Of the six Oscar nominations received two were for technical excellence in Best Art Direction (James Bissell and Jan Pascale) and Best Cinematography for the continuing genius of Robert Elswit. Brilliantly reflective of the time period, shadows and the contrast between light and dark are well captured as are the numerous scenes within the confines of a cramped room or office and all three were well deserving of their Oscar nominations. One scene in particular encapsulates everything highlighted brilliantly, from a perfectly still performance from David Strathairn as Murrow hunched over his typewriter completing his script for the evening segment, the cramped room full of shadow and excellently lit as the camera, for the first time in the film, rolls away from Murrow as opposed to the almost constant full frame close up on him as his been apparent throughout the film up to that point. Murrow, whether on camera with his evening news segment or simply with his editorial team is seemingly always framed close up displaying every nuance and touch, yet this brief but brilliantly captured snapshot of a journalist of the age captures everything perfectly.
David Strathairn leads an all star cast as Edward R Murrow and was fully deserving of the film's sixth Oscar Nomination for Best Actor in a Leading Role. Another quiet and purposeful performance full of stillness and resolution as the permanent smoking news broadcaster and journalist. Ably supported by Fred Friendly (George Clooney) as his loyal co-producer and friend, in a film so heavily dominated by male leads and characters Patricia Clarkson as "Shirley Wershba" stands out in a brilliant performance alongside an uncharacteristically quiet (but as you've read, purposely so) performance from Robert Downey Jr as "Joe Wershba". Jeff Daniels stars as ruthless "Sig Mickelson", screenplay writer Grant Heslov stars as "Don Hewitt" and there are two stunning cameos from Ray Wise as "Don Hollenbeck" and Frank Langella as CBS Supremo "William Paley". Also notable is Dianne Reeves as "Jazz Singer" both for her superlative singing and for the insertion of her (and her band's) jazz tracks throughout. The music itself is minimal throughout the film but always memorable, from the instrumental "When I Fall in Love" over the opening titles to Dianne Reeves' singing "TV is the Thing This Year", "You're Driving Me Crazy", "I've Got My Eyes on You" and "One For My Baby (And One For The Road)". All of these latter songs are used brilliantly as we tour the television studios, a joyous bar scene or a scene accompanying bad news.
Good Night, and Good Luck (Murrow's signature sign off at the end of every broadcast) also raises the question of whether news broadcasts should simply report the news as is provided by national syndicates of news providers and/or Government institutions or in fact challenge the news they are provided with. Should television, and news in particular, be used as a means of debate and challenging the status quo or simply a vehicle for providing a sanctioned view of the news and the world, or indeed simply as a form of entertainment, revenue and ratings. Money, sponsorship and ratings are a continual theme too. The film itself also challenges another highly prescient theme of the time and of today as free speech and violations of that singular right as a human being are being exploited every day despite our rights afforded us as both a human being and as part of national Constitutions. Above all, this film shines a light both into the past and into a very prescient present day with a documentary feel to it brilliantly helmed by Director Clooney and expertly though quietly portrayed by a stellar cast of devoted actors. A brilliant film and well worthy of 93 minutes of your time.
Leatherheads (2008)
George Clooney's largest and most prominent role of the films he's directed. An ageing professional footballer at the twilight of his career as the embryonic professional football game in the 1920's begins to take shape. Played well with tongue firmly rooted in his cheek! Directed well with a definite eye for the comedy throughout.
This screwball comedy is set in 1925 and the opening segments set the tone for the film as both an off the wall comedy (with added clunky dialogue!) and the vast difference between college football (played in front of large fanatical crowds) and the still blossoming professional football league (played in front of sparse but dedicated local fans). Two major narrative plot strands are evident. As an ageing professional footballer "Dodge Connelly" (George Clooney) is desperate for his team, Duluth Bulldogs, to continue against a background of lost sponsorship and waning interest in the professional league. "Carter Rutherford" (John Krasinski) is a decorated World War I veteran with a story to tell and a sublime talent for playing football. Both narrative strands intertwine when Dodge persuades Carter to join his Duluth Bulldogs and to great fanfare the new signing joins the Bulldogs and they go on an unprecedented winning run. Dodge clearly sees a lot of his younger self in Carter who, whilst reinvigorating the embryonic league set up, simply wants to play football. Enter "Lexi Littleton" (Renee Zellweger).
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Renee Zellweger stars as ambitious newspaper reporter Lexi Littleton and heads up a supporting cast of "Suds" a perma drunk sports reporter for the Duluth Bulldogs played by Stephen Root, "Coach Ferguson" (Wayne Duvall), "Big Gus" (Keith Loneker), "Commissioner" (Peter Gerety) and a host of cameos for a large number of football players. Away from the football, screenplay writer Grant Heslov plays eccentric sports announcer "Saul Keller" with tongue firmly in cheek, Randy Newman cameos as "Piano Player" but the largest of the supporting roles falls to the excellent Jonathan Pryce as nefarious sports agent to Carter Rutherford "CC Frazier". The original music score from all time great Randy Newman is excellent and befits the age, setting and comedic style of the film, as does the music tracks selected such as "Toot Toot Tootsie Goodbye" by Al Jolson, "Who's Sorry Now?" and "The Man I Love" by George and Ira Gerschwin. Written by Duncan Brantley and Rick Reilly, with editing from a returning Stephen Mirrione and Cinematography from an equally returning Newton Thomas Sigel, Costume Designer Louise Frogley deserves enormous credit for her period costumes and attention to detail from the leatherheaded players themselves through to the large crowds. The football games themselves are fairly brief with the exposition mainly focussing on the struggle to kick start a new professional league and the triangle between the ageing player, the young fresh faced upstart and the eager journalist who quite literally comes between them. Here the film excels but this is my least favoured of George Clooney's four directed films to date despite my lifelong passion for American Football. The script (and many of the gags) fall a little flat and the comedy is pleasing if a little staid. Again away from the football itself is where Clooney the Director excels, with trademark slow sweeping shots of hotel lobbies and bars and numerous train journeys, but the film lacks a real zest until mid-way through the film and the following scene which is the film's highlight and most stylish scene:
Lexi: "Now wait a minute!"
Rutherford: "I want answers!"
Dodge: "Yeah I kissed her. On the mouth. And I liked it. A lot".
Rutherford: "Oh you did, did you?"
Dodge: "Yeah"
Lexi: "Thank you"
Dodge: "You're welcome"
Therein lies the sweet with the bitter! A beautifully shot bar room scene surrounded by a screwball, slapstick comedic ending which perfectly encapsulates this film. Again, not a favourite of mine despite it's football roots but funny in places, awkward in others and a clunky script that just fails to hold your complete attention with characters that although played mostly with tongues firmly rooted in cheeks don't always convince.
The Ides of March (2011)
"I am not a Christian. I'm not an Atheist. I'm not Jewish. I'm not a Muslim. My religion, and what I believe in is called the Constitution of the United States of America"
Based on the stage play "Farragut North" by Beau Willimon, Beau also contributed to the screenplay with regular writers George Clooney and Grant Heslov, all of whom were nominated at 2012 Oscars in the Best Adapted Screenplay Award, the film's only Oscar nomination. The film was edited by regular collaborator Stephen Mirrione, with Louise Frogley also returning as Costume Designer and a new Cinematographer involved, with Phedon Papamichael on photography duty. Also worthy of immediate note is Alexandre Desplat's original music score which hums melodically in the background but with a brooding air that befits the film. A film close to a number of hearts as is perfectly indicated by the number of Producers noted including both writers Clooney and Heslov, and Leonardo DiCaprio.
The film open's and, as is Clooney's style, loops to a close in a similar vein with "Governor Mike Morris" (George Clooney) on the campaign trail in Ohio and as is immediately stated as a real life truism "As goes Ohio, so goes the Nation". This immediately roots us as the audience as being in the present, in a real life take on real life events, but not based on any past or present real life events. Art imitating life, but not based on real life events! As per the play it's based on it roots itself very much in the present political climate and this is evidenced throughout with interviews with Charlie Rose and constant references to right wing bloggers, Sean Hannity, Rush Limbaugh, The Drudge Report, Chris Matthews, Rachel Maddow and many others including more familiar Television coverage and snippets of public speeches and addresses. Running against Governor Morris is "Senator Pullman" (Michael Mantell) and the opening of the film depicts their race in Ohio, of busy interns chasing votes and nominations, saturation television coverage, voters on the streets for their candidates and also a stellar cast list who each produce superb performances.
Philip Seymour Hoffman excels as ever as a driven, dedicated, experienced and obsessive Campaign Manager "Paul Zara" who mentors a younger "Stephen Meyers" (Ryan Gosling) who is every bit as obsessive and driven as his Boss. Gosling is the film's stand out star and another performance to add to his burgeoning cannon of brilliant performances in previous films such as Blue Valentine and Drive. Although Zara's deputy, his obsessive eye for detail and to be forever ahead in the polls and working for the future President is evident and he is very much "the big man on Campus". It's a brooding performance of idealism that perfectly encapsulates the dirty world of politics and worthy of Oscar consideration. Paul Giamatti provides yet another star performance, this time as "Tom Duffy", a similarly driven obsessive but who works as Campaign Manager for the "opposition" Democratic candidate, Senator Pullman. Suffice to say these three male leads play out one of the film's many themes, of political in fighting and self aggrandisement, and of treading on anyone who gets in their way, politically or otherwise, to succeed. To conclude the predominantly male lead roles, there are also excellent supporting roles from Max Minghella as Campaign Support Manager "Ben Harpen" and Jeffrey Wright in the pivotal role as "Senator Thompson". In this predominantly male orientated (and testosterone filled) film, two particular female lead roles stand out with Rachel Evan Wood as a young, driven campaign intern "Molly Stearns" and an excellent performance from Marisa Tomei as New York Times Reporter "Ida Horowicz". Two of the film's numerous political themes are perfectly encapsulated in these two briefly dissected scenes. They are also wrapped in superb brief snapshots of acting performances from the film's marquee stars:
"But I'm not gonna tell you it's a sure thing because St Gabriel can blow his fucking horn on election day and get his four horseman to rig the ballot boxes for Pullman and it wouldn't surprise me. Six Presidentials I've done and I've never felt this good".
"He's decorated by Bush Senior from the first Gulf War, he protested the second, he left his State with a balanced budget and the fourth highest education rate. The Republicans have no-one out there that can touch this guy".
"Mike Morris is a politician. He's a nice guy! They're all nice guys. He will let you down. Sooner or later".
This brief scene ends as it began with a zoom close up on the piano player still singing but not before Ida's matter of fact summation above and Stephen's telling vehement shake of the head and look of disdain at Ida for her apathy at the political system.
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The other more minor reservation I have is the lack of depth to some of the great characters on display. All portrayed brilliantly by Ryan Gosling, Paul Giamatti, Philip Seymour Hoffman, Evan Rachel Wood and Marisa Tomei but Giamatti's Tom Duffy and Hoffman's Zara characters could've been used far more heavily and far more effectively with more development and screen time.
Aside from these gripes it is another superb film helmed by Clooney, full of suspense and intrigue that grips you entirely within it's 101 minute running time. His most stylish and serious film to date yet with many early trademarks of sublime, stylised scenes juxtaposed against the grittier narrative throughout, with constantly slow and smooth running camera angles that immerse you in the story.
The Monuments Men (2014)
"This mission is never designed to succeed"
Frank Stokes Another nominal headline performance from the actor/director and an accomplished one at that. However, as with all of his previous four directorial efforts, George also relies on a star studded cast. Here, Clooney portrays Frank Stokes, a recruiter if you will and ultimate figurehead of the team creates, The Monuments Men, a team tasked with finding, securing and preserving valuable artwork throughout Europe and ensuring they are not destroyed by a retreating German army towards the end of World War II. The marquee star of the film, George heads the movie with an accomplished aplomb as you'd expect and the film's tone is very much in his own image. Stylish, tongue often firmly in cheek and offbeat, yet reflective of the period setting and the serious undertone of it's real world narrative.
The premise of the film is a simple one: After convincing sitting USA President Roosevelt that valuable and historic treasures are in danger and at the mercy of a retreating German army, Frank Stokes is tasked with heading a team of architects, art historians and scholars to recover and secure the artwork for future generations to enjoy. As the end of the War draws near, the proposed "Fuhrer Museum" may remain a distant egotistical dream but in it's place is something far worse, total destruction of any and all artwork in the German's possession. The scene is set immediately as we see valuable artwork being smuggled out of Belgium under the cover of darkness before we are transported to an occupied Paris and the vast accumulation of artwork in the hands of the German army and the formation of our heroes, our band of art historian brothers.
The premise of the film is a simple one: After convincing sitting USA President Roosevelt that valuable and historic treasures are in danger and at the mercy of a retreating German army, Frank Stokes is tasked with heading a team of architects, art historians and scholars to recover and secure the artwork for future generations to enjoy. As the end of the War draws near, the proposed "Fuhrer Museum" may remain a distant egotistical dream but in it's place is something far worse, total destruction of any and all artwork in the German's possession. The scene is set immediately as we see valuable artwork being smuggled out of Belgium under the cover of darkness before we are transported to an occupied Paris and the vast accumulation of artwork in the hands of the German army and the formation of our heroes, our band of art historian brothers.
Completing the star studded cast is Matt Damon as "James Granger" an art curator sent to Paris to liaise with, amongst others "Claire Simone", an underused Cate Blanchett. Granger's character typifies the film for me, with his comically poor French very deliberate and often times funny, but his flight over "Paree" is particularly dreadful!. A brief scene the film could have done without. John Goodman is excellent as "Walter Garfield" and is paired with Jean Dujardin as "Jean Claude Clermont" but the stand out performances remain with Savitz (Bob Balaban) and Campbell (Bill Murray). Right from the outset they provide much needed comedic chemistry and the light to the film's serious narrative. One further supporting role worthy of mention is Justus Von Dohnanyi's portrayal of "Viktor Stahl", a ruthless, slimy German officer.
A good film and worthy of being within Clooney's cannon of directorial work, however it fails to balance the drama with the comedy, the light with the shade and the historic with the story telling. Behind the scenes, huge kudos is deserved by the vast production, design and costume teams but Alexandre Desplat deserves special praise for his wonderful musical accompaniment throughout.
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