#jack farthing imagine

[bowieandqueen11]

Duel Destiny / Poldark Imagine

Request: Can You Write A Fic About Ross and George Decide To Become Friends After George Basically Saving Ross and Demelza After The Duel? 

I just finished Poldark and honestly I’m crying it has absolutely destroyed me!

The cottage hunkered low on the moor, yet it looked alive and welcoming with a thin silver trail curling from the crooked stone chimney. The sides were the same grey slabs as the low walls in the dales and the roof was a darker slate, as if it was straight out of a fairy tale with a happy ending.

Demelza stands at the wooden table, the low fire burning in the grate of the kitchen as the repetitive sound of dough sounds slapping against the wood, her knuckles kneading into the bread as she sneaks glances at Ross. Prudie rushes by, her hands on her hips as she prepares to get the children ready for school, but neither of them notice for the moment. Ross leans on the opposite side of the room, hip bumping against the stone cold wall as he places down the letter from Dwight, a smile, a proper, genuine smile gracing his face as he looks over at his wife. Their eyes meet for a moment, becoming lost in each other as she gently smiles as well, a comforting look that reminds Ross of their best days, and in that bright moment, he knew everything would be alright.

They’re interrupted by Prudie opening the door again, Demelza dusting off her floury hands on her apron as she tightens the string, a slight frown on both their faces at the three of them look at each other, shock in Prudie’s wide eyes as she steps backwards and out of the way, allowing George to come slowly sauntering into the room. His eyes are bloodshot, his hand twitching against the hat he holds by his hip, but his head is bowed slightly lower than usual. 

‘Two visits in a fortnight, we truly are blessed, Sir George!’

George bows slightly at Demelza, a blush slightly littering his cheeks as he turns to Ross.

‘After... that night, the night I shot...I’ve been thinking a lot. I’d like for us to talk in private.’

‘About what, George?’

‘About a truce, Poldark.’

~

George eyed the amber liquid and the golden glow of the glass-like cubes that he holds in his hand. Wrapping his long fingers around the glass, he felt his heat leach into the drink. Clinking his glass against Ross’, who raises his with a wary smile, he raised the glass to sip, feeling the keen burn on his tongue and throat, a feeling he longed for. He turns back towards the fireplace, for the first time in a long while not sure what to say or do, but just knowing that something had to be done before guilt and shame ate away at any of the goodness left in his heart.

‘What you did, your plan was foolish, but I must commend you for your bravery.’

‘And I must commend you for your shot. I believe, in this case, thanks are in order.’

George grins, not daring to raise his eyes up to meet Ross’, but turning his head slightly in his direction anyway, the warm glow of the fire making his eyes shine as if filled with invisible tears.

Ross warily continues, ‘and I suppose, you’ll want to continue with our normal animosity once we part ways from this house?’

A heavy silence settled over them, thicker then the uneasy tension in the atmosphere. 

‘When Elizabeth died, I had never felt so alone, so lost...so incapable of doing even the smallest tasks. And this was only the beginning, the beginning of the pain, the suffering and the endless loneliness in store for me. But yesterday, I felt a flash of my former self again, and I want that back, Poldark. So I’m here to call a truce. For a clean slate, if you will.’

He could feel the heat growing in his cheeks; he felt as if all his insecurities were writ large across his face and there was nowhere to hide as Ross furrows his eyebrows, dropping his glass until it dangles precariously from his fingertips without a care, and for a moment George juts out his chin and prepares to leave with some semblance of dignity.

‘Even if forgiveness for each other’s crimes is not possible, pray, cordiality is all I seek.’

Ross stands for a second, dumbstruck, until a smile starts twitching on his lips. This shocks George, who shakes his head a little as his eyes widen, before the smile is replaced with uproarious laughter.

‘We were friends once, George, and it would be my honour to build up to friendship again.’

[prob8850]

Meeting Jack Farthing’s Parents Would Be Like...

Request: Name of Person/Character: jack farthing Type of Request: headcannon 
Specific Request: meeting jacks wealthy parents and they like you Requested by Anonymous A.N- So sorry for the long wait, I also changed the prompt a little

- Being worried that they won’t like you - Jack being extremely supportive - Not knowing what to wear - Meeting for dinner at a fancy restaurant - First impressions going well - Actually getting along well with them - Them asking why Jack hadn’t brought you to meet them sooner - Making plans to have dinner again sometime

[aucelebrity]

Au Meme : Jack Farthing can’t wait to marry you.

[club-riot]

Harry Villiers

[ingek73]

Spencer review – Princess Diana’s disastrous marriage makes a magnificent farce

Rated 5 out of 5 stars

Kristen Stewart’s entirely compelling Di has no escape from the dress-up game of monarchy in Pablo Larraín’s unreverential movie

Xan Brooks

Published: 16:15 Friday, 03 September 2021

Sandringham, Christmas 1991. Bare trees, frosted fields, dead pheasants on the drive. Inside the grand house the dining table has been laid in readiness, but one of the principal guests – arguably the main course – is running late and lost. She grinds her car to a halt, tosses her perfect hair in frustration. “Where the fuck am I?” asks Diana, Princess of Wales.

And so begins this extraordinary film, which bills itself as “a fable from a true tragedy” and spotlights three days in the dissolution of Charles and Di’s marriage. Working off a sharp script by Steven Knight, Chilean director Pablo Larraín spins the headlines and scandals into a full-blown Gothic nightmare, an opulent ice palace of a movie with shades of Rebecca at the edges and a pleasing bat-squeak of absurdity in its portrayal of the royals. Larraín’s approach to the material is rich and intoxicating and altogether magnificent. I won’t call it majestic. That would do this implicitly republican film a disservice.

Jetted in from California, Kristen Stewart proves entirely compelling in the title role. She gives an awkward and mannered performance as Diana, and this is entirely as it should be when one considers that Diana gave an awkward and mannered performance herself, garnishing her inbred posh hauteur with studied coquettish asides. When she broke down, lost her poise, it was like watching a Stepford wife throw a glitch. But Stewart effectively captures the agony of a woman so programmed and insulated that she feels she has no escape and has lost sight of who she is. The servants (well played by Sally Hawkins and Sean Harris) want to help but they are part of the very machine that she hates. They know that if Diana breaks down, the mechanism does too. What matters above all else is to keep the woman up and running.

Should you ever be invited, please don’t go to Sandringham. Larraín makes the place look as spooky as Kubrick’s hotel in The Shining, with endless corridors and haunted chambers and sulphurous guests sat ramrod-straight at the table. It’s a place, says Diana, where everybody hears everything, even your innermost thoughts. And around every corner lurks the serene, spectral presence of all-seeing Major Gregory (Timothy Spall). The royals themselves are largely kept out of sight, like a bunch of sacred cows. Major Gregory, one realises, is the real ruler of this house.

Small wonder the princess keeps making a dash for the door. The film depicts Charles (played by Jack Farthing) as peevish and unsympathetic. The Queen ruefully explains to Diana that she’s currency, nothing more. But now she’s roiling and raging, seeing Anne Boleyn’s ghost in her bedroom and clinging to William and Harry as though they’re a pair of life preservers. Installed at yet another of those ghastly formal dinners, she slips into a fugue state and imagines ripping the choker from her throat, dumping the pearls in the soup and swallowing the beads one-by-one.

No doubt it took an outsider to make a film that’s as unreverential as Spencer, which dares to examine the royals as if they were specimens under glass. At heart, of course, Larraín and Knight’s tale is utterly preposterous. It’s a tragedy about a spoiled princess who lashes out at the servants; a thriller about a woman who has only 10 minutes to get into her dress before Christmas dinner is served. But how else do you play it? The monarchy itself is preposterous. Spencer presents the whole institution as little more than a silly ongoing game of dress-up, a farce that depends for its survival on everyone playing along and propping up the illusion, the old moth-eaten brocade. Anybody who doesn’t is ostracised, crushed or cast out in the cold, with the scarecrow and the pheasants and the shivering security men. “Will they kill me, do you think?” says Diana, half-joking, and such is the level of fury and tension that just for a moment we believe that they might.

• Spencer screens at the Venice film festival, and is released on 5 November in the US and UK.

[adamwatchesmovies]

Spencer (2021)

If you still think of Kristen Stewart as that bad actress from the Twilight films, you won’t even recognize her in Spencer. She gives a stunning performance in a film full of complicated emotions.

Inspired by real people, this fictional tale begins on December 24th, 1992. Diana, Princess of Wales (Stewart) upsets the British royal family by arriving at the Queen’s Sandringham Estate alone. As she attempts to abide by the exhausting Christmas traditions imposed upon her by the family’s long history, she struggles with her mental state and uncertain future.

All little girls dream of becoming princesses. Many films have shown us that being a big deal isn’t what you dream it is but none quite like this. Diana’s husband, Prince Charles (Jack Farthing) is having an affair. Going through a marital crisis on a normal day would be difficult but Diana's circumstances make it particularly hard. Ideally, Christmas is a joyous occasion whose sanctity shouldn't be spoiled by bad news but there’s no joy here. This holiday in Norfolk is cold and uncaring. It’s all about what outfits you’re scheduled to wear, how little of a fuss you can make, how few pictures the paparazzi snap of you. The royal family pretend like they aren’t people; like they just happen to live among. Diana knows first-hand that princes aren’t inherently wonderful, that "royal" means nothing.

The extent of the family's self-importance and cruelty is illustrated via the giant portrait of King Henry VIII hung up like he's the patron saint of happy marriages. Henry VIII grew tired of his second wife and had her executed. Everyone knows that, but he's still up there. As such, Diana feels a kinship with Anne Boleyn (Amy Manson), whose “ghost” "haunts" the building. What happens to her if she tries to leave the family?

With few opportunities to confide in anyone, Diana has few ways to express the unhappiness she feels out loud. This is where Kristen Stewart’s performance comes in. She’s so good at communicating the uncertainty, stress, sadness, outrage, dissatisfaction, and despair Diana feels. Then, there are these little scenes where we get to see her smile. The "Diana, Princess of Wales" disappears and the "Diana Spencer" comes back. The moments of joy with her children (played by Jack Nielen and Freddie Spry) are particularly emotional. Diana knows what it’s like to grow up normal. Her children do not. Her past, their future, the uncertainty of her marriage, her place in the royal family are all converging. It feels like it’s too much to handle. She imagines what it would be like to just quit everything. If you didn’t “get” why Prince Harry (The real person) decided to step away from the royal family, why the idea of kings and queens is out of date in 2021, this film shows you.

Spencer isn’t satisfied with a traditional exploration of its protagonist. Director Pablo Larrain uses dreams/hallucinations and quiet shots to show us what the character feels rather than spell it out. It’s a good thing Kristen Stewart (who is sure to get all sorts of nominations and awards) is up to the task. For her alone, the film is worth seeing. (Theatrical version on the big screen, November 6, 2021)

[ava-candide]

T'aint right, t’aint fairas Prudie, the Poldarks’ housekeeper, would say. Poldark is nearing its end; let the Sunday-night-swoon audience rend its garments. It returns next month for a fifth series then that’s your lot: game over. No more shots broodily staring out to sea, no more dramatic galloping at full pelt across Cornish clifftops making me worry for that horse. But, at least, a rest for the poor overworked six-pack of Aidan Turner, whose performance as Ross Poldark has held thousands of middle-aged ladies in thrall.

And here I am sitting 2ft away from him in a tiny room at the British Film Institute in London, a man whose abdominal muscles are the most “celebrated”, by which I mean “leered over”, in Britain. “You’re a ‘hot property’, ” I tell him as if he somehow hasn’t noticed his own naked torso appearing incessantly in every newspaper and magazine since 2015. “Do you feel like a hot property?” He looks horrified. “No, I don’t,” he says, smiling through a bushy black beard. “I don’t think I’d want to know anyone who [called themselves] a hot property. That gives me the heebie-jeebies.” Good answer. Anyone who refers to themselves as a hot property is obviously a massive tool.

I assume the beard (the Daily Mail said it made him “unrecognisable”, but he is totally recognisable) is for a part in an “exciting” new project, which, he says, involves working with a director he admires but, alas, he can’t tell me what it is. “I’m so sorry, it’s boring; it sucks,” he apologises (he means having to be secretive, not the production, just to be clear).

So how does he feel to have pulled off Ross’s tricorn hat and ravished Demelza (Eleanor Tomlinson) in that small Nampara bed for the last time? Turner, 36, has spent about a third of his working life on Poldark. Does it feel the right time to drop the curtain? “It feels storywise that this is the right time. It just seemed the right time in every possible way. It has been an incredible journey for all of us . . . but it’s a long shoot. I think we’re all ready to do other things.” I say I hope he had a suitably tearful farewell with Seamus, Ross’s trusted black horse who has built up such a fan-base that he is known as “famous Seamus”. Turner became very close to him, sometimes having a nap on his back between scenes. He thinks they have a similar personality: “We’re both Irish.” So how was the big goodbye?

“It’s kinda sad,” Turner says. “I was gutted.” For a terrible moment I’m imagining a glue factory, but it turns out he never said farewell to the horse. “With everything else when the job was wrapping up I remember the last time I wore the boots and the last time I wore the tricorn hat and the jacket, and the last time I did a scene with Eleanor in the kitchen. And I really marked it because I wanted to remember it. With Seamus I thought I was going to see him again; but then a scene got pulled we were going to use him for . . . so I never got to say a proper goodbye. I was really gutted.” Seamus lives in York. Might he go and see him? “Maybe I will. I should drop Mark, the trainer, an email and pop down and say hello and take him for a run-out.” A reunion? There lies a payday for the paparazzi.

This is the first of the BBC series not adapted directly from the Winston Graham novels (first dramatised by the BBC in 1975 starring Robin Ellis). There was a gap of ten years in the books and Debbie Horsfield, who has written every episode of the five series, has bridged the gap between novels seven and eight using information gleaned from the later works, to keep the characters at their present ages. The Graham estate thinks she has a great affinity with the novels. It is a strong first episode, with new characters and suggests, shall we say, that Elizabeth’s death is affecting the mental health of George Warleggan (played splendidly by Jack Farthing) more than we realised. After our conversation there is a Q&A and a screening of the episode at the BFI, but Turner says he thinks he’ll duck that bit because he feels uncomfortable watching it with an audience. “I’m not very good at that. I find it a bit strange.” He is quite shy and endearingly modest for a man so lusted after. At one point some traffic noise erupts outside and he jumps up to close the window for the sake of my Dictaphone which, trust me, not every actor would do.

How boring has he found the enormous fuss and objectification over his six-pack, prompted by a famous scything scene? “I get asked a lot. It’s par for the course,” he says. “It certainly doesn’t irritate me; it’s not something I regret doing, so it’s not something I ever care to avoid talking about. I just don’t find it that interesting.”

Turner, who was born in a suburban town near Dublin and attended drama college there, probably first became well known to British TV audiences in Being Human, after which Peter Jackson cast him as a dwarf in The Hobbit. But it was Ross Poldark who has made him famous. He says he’ll most likely miss Ross —“I love him; he’s a flawed character; he’s real” — though it’s early days. Is there anything he won’t miss? He seems flummoxed for a moment. “It’s good that I have to struggle a bit for that actually,” he says. “There’s nothing I hated and despised on the show. I’m used to early mornings. I’d love to be able to give you a bit of gossip but there’s nothing . . . Maybe living in rented accommodation.”

There have been reports of rows between him and Eleanor Tomlinson on set, usually over protecting their own characters in the show. She has joked that they squabble like an old married couple. “I don’t think we fall out often and certainly nothing serious. If there was ever any tension between us it was purely to do with work because we care a lot,” he says. “These conversations came later, the last two or three years. As we became more invested we felt we had more to lose because the show was successful, but it was always very professional. Eleanor’s an intelligent girl, conscientious, polite and articulate, so it never got into any screaming matches or anything. I was always really interested in what she had to say.” He starts laughing. “And most of the time she was right.”

I wonder if he minds the level of fame that has come with Poldark. Recently the actor Richard Madden (Bodyguard) revealed that he deliberately wore the same clothes and carried the same cup of green juice every day in the same way so the paparazzi couldn’t get a different picture and would lose interest. Turner says he tried that, but the photographer waiting outside the theatre (he was performing in The Lieutenant of Inishmore, for which he got rave reviews and a Stage debut award ) told him he could change the colour of his T-shirt in a heartbeat. “And the next day he showed me! He changed my T-shirt to pink and the colour of my jeans.” But he doesn’t mind the attention from the public. “People are usually very nice and polite. I like to see the best in people.”

He rarely reads reviews or his own interviews, never uses social media and is guarded about his private life, namely his American girlfriend, Caitlin Fitzgerald, with whom he was pictured recently on a red carpet (they met on the set of a film they both starred in: The Man Who Killed Hitler and Then Bigfoot). He has also been photographed walking her dog, Charlie. When I mention Fitzgerald he raises both palms: “I can’t say anything about that,” he says, again apologetically. I imagine all those swooning fans would rather not hear about it anyway. For the record, he says he splits his time between London, Dublin and New York. Does he fancy big Hollywood films? “Wherever the work is,” he says.

He believes this fifth series is the most exciting yet and promises the issue of Valentine’s parentage will be a big story (the little boy who plays him and may be Ross’s secret son looks spookily like him, right down to the hairdo). “It’s a great story for George Warleggan; Jack is brilliant. He’s amazing, a real talent.” By the end will the audience be sad or happy, Aidan? “I don’t know,” he says cryptically. “Some people might be happy; some people might be delighted.”

But it might not be game over, actually. He does not completely rule out returning to it in ten years’ time when he is old enough to play the more mature, wrinklier Ross (Horsfield has said “never say never”). However, he says a lot of things would need to be in place. All the actors would need to be available, the Graham estate would have to agree, and most of all the audience would still need to want it, which is the most important point. Television moves on so fast these days. “It would be silly, though, to say that it’s completely off the table,” he says.

So was he emotional at the end as it all wound down? “That last day I think it was just myself and Eleanor in the bedroom at Nampara, which was lovely,” he says. “It felt like the right way to finish and probably the right place as well. Yeah, it was quite emotional.” They still had the work to finish, the call sheet to complete, but “it was lovely just to be with her”. Afterwards, when it was done, he says it was — and he searches for the right phrase — “a bit shocking. It just feels surreal because it’s over.” For him, yes, but not for us. Not quite yet.

[bubaranpabrik]

Jujur lumayan tidak berani nonton sampai selesai. Banyak yang bilang dari awal baiknya tidak ditonton jika ada mental health issue, atau setidaknya ditemani orang lain. Kali ini nonton sendirian dan sangat membuat tidak nyaman karena relate sekali kondisinya.

Efeknya apa? Sekarang kehilangan nafsu makan, gelisah, insomnia, ya masih banyak. Recalled much memories

https://www.hulu.com/movie/6a4e4519-def0-41f8-898d-f4d3b8521af5?utm_source=shared_link

[bowieandqueen11]

Morning After / George Warleggan Angst

Thank you for the idea @caxceberxvi! (George waking up the first morning without Elizabeth)<3

Warning: this may be difficult to read for some, so please don’t feel as if you have to if you’d rather not!

George’s mouth stretches open to allow a giant yawn to erupt, stretching his arms by his side, careful not to rustle his darling wife, groaning softly to himself as the cold breeze of the autumn morning blew in through the open windowpane, the growing dim rays of hazy light gleaming into his eyes on this beautiful morning. His hand reaches over to ball into a tight fist, grazing Elizabeth’s hip in a gentle tickle, grasping her night dress tightly as his gaze settles from the falling orange leaves of the tall oak tree and the slight wisps of grey clouds in the morning sky to rest on her face.

Her face looks so peaceful when she’s asleep, all the stress and laughter lines untraceable upon her smooth, youthful face, her pale skin glowing slightly as her eyes begin to race backwards and forwards behind her drooping eyelids. Chuckling gently to himself, George reaches slowly forward to press a warm kiss against her forehead.

‘Good morning, my love. It’s a beautiful morning outside, perfect for taking an afternoon stroll with baby Ursula if you’re feeling up for it?’

Her eyes open suddenly, flashing brightly in surprise before finally settling on the grin lining George’s face. The dimple on his cheek raises slightly as his tired eyes take in her ethereal form, before he pulls the covers swiftly up to both their shoulders with a small hum.

‘Perhaps you’re right, darling, a couple more minutes in bed could do us no harm.’

Cary leans down by the door, a large frown lining his face as he puts his ear against the keyhole, shooing away a few servants carrying breakfast with his other hand as a content, lazy groan floats through the door. On this cloudy morning there are growing patches of blue, the sort of hue that is soft and bright at the same time. Though beneath the sheet of cloud is a grey that deepens to steel, the leading edge is a brilliant white that promises either rain of sunshine. With a sigh, Cary knocks on the door before entering, a sigh escaping his lips as he places his hands behind has back, rolling slightly on the heel of his feet as he takes in the imagine of his nephew lying on his side in the empty bed, his arm scrunched up against Elizabeth’s pillow as he nestles into it.

‘Good morning, nephew, don’t you think it’s time to get up and get on with business?’

‘But Uncle, Elizabeth is still feeling a bit frail after yesterday’s events’, he says with a small smile, his finger running over the empty cotton in soft swirls.

Squinting slightly in the darkness that swirls in front of his desperate doe eyes like sullen clouds covering the sun, George’s fingers crave the warm touch of Elizabeth;s’s arms, the intimacy of her skin, the smooth curve of her nose as he traces his finger over the tip. Smiling to himself, his hand clamps down onto where her side should be, ready to tickle her gently awake with a warm kiss peppered to the side of her neck, before his face drops as his fingers fall down heavily through the empty air.

‘But...where on Earth has she gone? She was right here!’

Standing up quickly, he hobbles towards Cary, mumbling: ‘she must have gone down to breakfast whilst you distracted me.’

Cary reaches out his arm, his fingers tight as they dig into George’s shoulder muscles, ignoring the confused and angry look he gets in return as George gazes up at him.

‘Do you really not remember?’

Valentine sits alone on the empty wooden staircase, his fingers scratching against swirling oak pattern of the banister as silence envelopes him. A silence that is suddenly broken by shrill cries that hammer into his ears like someone driving pointed screwdrivers into his skull. He presses his hands against his ears, staring blankly at the floor in fear, his eyes dipped as they gaze without really seeing, no one there to notice the tears that drip and streak down his cheeks so violently it feels like he’s been doused in autumn rain.

[prob8850]

Getting engaged to Jack Farthing aesthetic Requested by Anonymous

[aucelebrity]

Au Meme : You’re a famous American actress and you’re dating Jack Farthing.

[stopandimagineloveforever]

SPENCER - Official Teaser Trailer - In Theaters November 5th

The marriage of Princess Diana and Prince Charles has long since grown cold. Though rumors of affairs and a divorce abound, peace is ordained for the Christmas festivities at the Queen’s Sandringham Estate. There's eating and drinking, shooting and hunting. Diana knows the game. But this year, things will be profoundly different. SPENCER is an imagining of what might have happened during those few fateful days.

Directed by Pablo Larraín Written by Steven Knight Starring Kristen Stewart, Timothy Spall, Jack Farthing, Sean Harris, Sally Hawkins

[lilysfilmden]

Thelma and Louise plus Casper the Friendly Ghost

Burn Burn Burn, Chanya Button, 2015

            The ones who never yawn or say a commonplace thing, but burn, burn, burn like a fabulous yellow roman candles, exploding like spiders across the stars.

Jack Kerouac, On The Road

            How can terminal illness and death be turned in a black road trip comedy without losing the chilling sadness over a lost friend? Well, nobody does the humour like the Brits with their sarcastic and cynical dryness. It most certainly can be seen in the directing debut of Chanya Button and the trip she, along with the scriptwriter Charlie Covell, is taking us around The United Kingdom.

           Burn Burn Burn (2015), at the first sight, it is a movie about friendship, death and grief, however, it has its deeper meaning. As every journey, it is about finding ourselves between meaningless experiences and the fakeness of the surrendering world.

He called them  “Thelma and Louise plus Casper the Friendly Ghost” in the first video he had recorded. He gave them the last task, one more favour, and one more journey. The sardonic and cynical party boy Dan – brilliantly played by Jack Farthing, even from beyond the grave – makes a drunken video in the Seph’s bathroom, confessing his upcoming death and, in his opinion, the brilliant plan. A quick, and ‘awkward’ jump cut a few seconds later bring us to the first glimpse of his illness and an introduction to two main characters’ lives.

Alex (Laura Carmichael) and Seph (Chloe Pirrie) are in their late twenties, at the beginning it seems that they are both in happy relationships fulfilled with love, soon, however, the idea of idyllic middle-class life will be long gone. Coming back home from their friend’s funeral, Alex walks on her girlfriend – who was ‘too busy’ to keep her company – having sex with another woman.  That was one of the final strokes that has contributed to their decision on going to the road trip through UK’s most beautiful landscapes and to complement Dan’s last wish – which, to their surprise is scattering his ashes in four significant locations around The United Kingdom.

As in any road trip film fashion, nothing ever goes as planned and they journey throughout the countryside is filled with obstacles, one after another. As soon as they arrive at their first stop, Glastonbury Abbey – which for Dan had very personal meaning – it turns out that under no circumstances, scattering ashes is allowed. From there on, the trip only gets more complicated and, at times, nothing but bizarre.

Our antagonist is leading his friends through the countrysides of England, Wales, and Scotland. With each stop, there is a video that he had made shortly before his death, explaining why each location is meaningful to him, but also they serve as personal messages for Alex and Seph. With time the tone of the messages changes. From cynical, drunk and to some extent even funny, they become stern, more imperative, although at the same time filled with an overwhelming fear of upcoming death, unresolved issues and in the end, humility. Even in the face of untreatable illness, we are witnessing a change in Dan. He comes to terms with a relationship he had with his mother – Amelia. He learned back then, sitting on the hospital bed after another dose of chemotherapy, that one cannot take anything with them to the grave, even the grudges that we have been holding our whole life.

Throughout the film, while accompanying Alex and Seph in their complicated journey around the country, but as Dan with each video had been changing the tone of his messages, that the two friends learn secrets and, through Dan’s extremely virulent remarks, uncomfortable truths about themselves. He forces them – as well as us – to confront our ingrained mortality and to let go of the fake happiness and people who mean nothing to us.

The performances of the protagonist contribute to the witty one-liners and perceptive observations. Carmichael and Pirrie have such extraordinary chemistry on screen, that it is hard to imagine somebody else playing those characters. Both of them handled the constant shift between dry black comedy and dramatic tones remarkably, giving their characters unique traits. Alex, laid back with the past she doesn’t want to talk about and Seph, whose romantic problems with her boyfriend James (Joe Dempsie) are more than – unfortunately – hackneyed.

The cream on the crop, however, is the unmistakably beautiful aesthetics of this movie. The work of Chanya Button and the cinematography of Carlos De Carvalho, the camera operator, let the viewer experience transcendent like sophistication, mixed with the melancholic mood, even when some of the subplots seem flat and sometimes rather unnecessary.

This dark comedy falls in between the category of a ‘must watch’ for every millennial who struggles to find themselves along the journey that is called life. Its wit and realness serve as a reminder of shortness of life and poignant reflections on not making enough while still being alive.

Kerouac, J. (1957) On The Road, Vikking Press  

[moviestorian]

For the Poldark ask meme: 26, 34, 74, 90 :D

Thanks a lot, dear! :*

26. Favourite cast member?

Jack Farthing, all the way. To be completely honest, I’m pretty sure he’s like 75% the reason why I love George so much; I love his detailed portrayal of this character. Besides that I think he’s a great actor, and I quickly developed a crush on him, he seems to be such a humble and nice person! I’d love to meet him in real life, because from what I’ve seen of him in interviews, pictures and videos, he gives me off this vibe of the person I would really, really like.

34. Who would win - Osborne Whitworth or George Warleggan?

I mean… COME ON. George, obviously, without a doubt. Unless it’s the contest of “who is creepier”, because in this case, Osborne wins. And I’m saying this as a person whose username is creepywarleggan. :P

74. If you were in the Poldark universe, who would be in your dream squad?

I’d definitely go into a super mission to turn George into a better person, so he’d be included. I’d love to be friends with Caroline, Elizabeth, Verity, Demelza and Dwight, but I’m not sure if it’s possible to be friends with ALL of them, especially with George in the team, too… :P Oh, and also Tankard, it’s always good to have a lawyer on your side!

90. Do you think Poldark could be made into a good movie adaptation, or it requires a TV series due to book length? If there was a Poldark movie, what’s your dreamcast?

Considering that the series contains 12 books, I imagine it would be extremely hard to create a faithful adaptation from that, unless it would be split into parts, like The Hobbit (but with the Hobbit, it was kinda the opposite, the book was super thin and could seriously make a one or at most two movies, but nevermind, I’m diggressing). On the other hand, if the director concentrated on, like 2 books or just limited number of characters (for example solely on Ross/Demelza or George/Elizabeth or Francis/Elizabeth or Dwight/Caroline relationships) then yes, I’m convinced it could be made into a very good adaptation. Obviously, it would require a great script and a good director. I don’t have any specific actors for dreamcast right now, mostly because I think the casting choices for the recent BBC series is spot on - even if an actor/actress doesn’t physically look like a character, their acting is so fantastic it’s more than enough for me.

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