The Back of the Bus

and serendipity has served me well once again. when we were not planning to catch a film and was just harmlessly browsing what was on at the box office at PS, we decided to randomly catch 'Being Julia' since it was at a spot-on time and it was the least of all the evils that were being offered (Kungfu Hustle, etc, not much to argue there). honestly a w. somerset maugham-plot seemed the least inspring of writers to base a film on, but like i said, least of all evils.

spellbound and fascinatingly surprised cynics-turned-converts, were we as we left the theatre.

and i think we might have very well stumbled upon a shimmering piece of cinematic gem. annette bening was in fact very much responsible for the glitter and shine of this piece of work. there's so much to talk about this film but i think this is a good startpoint. her accent, her gravity of acting, her immense power to convey the frailties and dynamic existence of a flamboyant personality and detail to characterization leaves much room for the audience's respect and awe. julia lambert is really quite a personality in her own right and league. but i was as though annette bening recedes into utter obscurity, giving the entire stage and being to julia lambert. the pun on 'stage' is entirely (oops, i did it again) unintended but it does seem appropriate for the story which revolves around a well-known theatre actress (a real one, because real actresses don't act in films- see even this is humour in itself) and her escapades and her play of life. the intricate essence of 'being julia' is brought out ever so refinedly and aptly. well-titled indeed.

then there is definitely the plot. who would have thought that somerset maugham, of 'human bondage' and yawn-inspiring meganovels fame is actually capable of a touche, awe-inspiring novella of such delectable storyline and intelligible humour/wit, running into such rarity in our Hollywood times. and delivered so well at that by the respective actors. it creates a rhapsody of charm, an atmosphere of delight and definitely being entertained at every speck of a moment. because isn't that what any art form is about? profanities delivered with such teasing aplomb, drama with such fine sensitivity and even the stage within the film is treated with such wild and fresh wit. the stage within a stage concept although old is ingenious and refreshing if treated well. in this case, it's hands down so. especially memorable is the climax, at the end of the movie where she gets her full and sweet revenge and the claiming back of her pride on stage, as an actress, where she probably first develops it anyways. this, i can't help but launch into hyperbolic praise but say once again, it's sheer ingenuity.

i figured the combination of the Shakespearean concept of the muse/fool to deal with the conscience of our protaganist, the Wildeian-irreverent wit meshed with contemporary humour, and the wildly original play with familiar human concepts of revenge, love, companionship, and jealousy makes it so attachable to anyone watching.

at the end, ain't 'being' fascination enough? since i can't outwrite nor outwit maugham here, i'll just stand and applause with all surrender and awe.

(the title of this post 'the Back of the Bus' was used in the movie to describe someone butt-ugly, i just thought this film was the antithesis of it and...i could use it as a buzzline, probably in nearer a future as i forsee it.)