Trap for Cinderella

2013

Action / Crime / Drama / Thriller

86
Rotten Tomatoes Critics - Rotten 25%
Rotten Tomatoes Audience - Spilled 22%
IMDb Rating 5.7 10 1288

Synopsis


Uploaded By: OTTO
Downloaded 56,237 times
November 12, 2013 at 07:38 AM

Director

Cast

Frances de la Tour as Aunt Elinor
Emilia Fox as Pycotheropist
720p 1080p
759.92 MB
1280*720
English
15A
23.976 fps
1hr 40 min
P/S 4 / 2
1.45 GB
1920*1080
English
15A
23.976 fps
1hr 40 min
P/S 7 / 4

Movie Reviews

Reviewed by msroz 6 / 10

Alexandra Roach has a possessive love relationship with Tuppence Middleton

Critic John Grant's "Noirish" blog alerted me to this as a neo-noir, so I checked it out. It's an intriguing movie, with very good performances and a complex scenario involving flashbacks that involve 3 periods of time.

The first period was years earlier when Alexandra Roach and Tuppence Middleton were little girls and close friends. They looked very much alike. Roach couldn't swim and Middleton could. In one childhood incident, Middleton scared her friend by pushing her under the water while supposedly teaching her how to swim, an exhibition of childhood cruelty and dominance. Another serious incident occurred when the two girls came across Middleton's rich aunt making love with Roach's father. Middleton tattled on him and the result was the man's suicide. One can understand that Roach may have harbored some deep but perhaps unrealized hatred of Middleton.

The second period is years later and not quite the present. In this period, the two girls are grown to adulthood, twentyish. They meet by accident in London. Both are very pleased to see one another again. Alexandra Roach is the quieter and plainer of the two. Middleton is a vivacious, free-wheeling, self-absorbed woman who likes the party scene of young adults of the 60s. As Middleton changes Cinderella more into her image, Roach displays a passionate and possessive love attachment to Middleton. It's unanswered physically by Middleton. Instead Middleton runs off with various men as she pleases, leaving Roach to fend for herself at parties and elsewhere.

The third period is the present, and the transition to it from period two is a fire that takes the life of one of these women. The other one survives and is having surgery. Her face is that of Middleton's character and she is told by the press agent of the rich aunt that she is Middleton. The woman has amnesia and remembers nothing except flashes of the past.

Is she or is she not Middleton? Who died in the fire? What were the circumstances of this fire? Who will get the rich aunt's inheritance, for she has passed on? What's the press agent's stake in this?

All such questions will be answered and answered clearly by the end of the movie. This is a mystery. We as viewers do get significant clues as the story plays out.

The heart of the story is the relationship between Roach and Middleton: Bosom buddies, love of two different kinds, two different motivations for their relationship, two very different kinds of women.

The screenplay gives us just enough to get some sort of a fix on their motivations. I wish it had given us more, so that we'd understand more deeply. As it stands, its plausibility is not as high as I prefer. It's a decent mystery-thriller without any police to speak of. The investigation and detective part of it is mainly via Middleton reading a diary, whereupon we enter into flashbacks.

Reviewed by robert-temple-1 10 / 10

Do my dear my female dear

Iain Softley is one of the most original and talented of all British film directors. He has directed so many astonishing films that one's mind has long been boggled by them. There was K-PAX (2001, see my review), a film which entered another dimension and got the best out of Kevin Spacey. Softley's first film was the excellent BACKBEAT (1994), followed by the innovative and gripping HACKERS (1995), where the young Angelina Jolie pushed the envelope. And then there was the wonderful Henry James adaptation, THE WINGS OF THE DOVE (1997). All of these were first rate films. And now he has made a masterpiece of modern film noir, based on a French novel by Sebastien Japrisot, from which Softley has written the screenplay himself. Japrisot (pen name and anagram of Jean-Baptise Rossi) is a well known writer, one of whose novels gave us A VERY LONG ENGAGEMENT (aka UN LONG DIMANCHE DE FIANCAILLES, 2004) with Audrey Tautou and Jodie Foster, and he also wrote THE CHILDREN OF THE MARSHLAND (aka LES ENFANTS DU MARAIS, 1999), which is very difficult to find with subtitles but is well worth the search and, I fear, the price. This film is based on his novel PIEGE POUR CENDRILLON, which was filmed previously in 1965, though no review of it exists on IMDb. The earlier version was scripted jointly by the author and the famous playwright Jean Anouilh, along with the director, Andre Cayatte. Not having seen the earlier film or read the novel, I cannot speak of their endings. Nor do I intend to reveal the ending of this film, except to point out that it is not to be found within the film itself. That may sound like a contradiction, but let me explain. I have never seen, in all the mystery films I have watched over the years, a film constructed in such a way that the viewer is intentionally left to figure out the ultimate mystery of the film himself or herself, after the film ostensibly ended. All of the evidence is there, and the director throws down the challenge to the viewer as if to say: I have hidden the answer in plain sight, now will you open your eyes please? Really, that is such an exquisitely sophisticated thing to do that I am full of admiration. In a way, you could say that this film is a classic intelligence test. But we are not talking about any old whodunit, this is a psychological thriller par excellence. The main characters are two girls who have known each other since childhood. One is beautiful, rich and a raver, and the other is demure, attractive without being beautiful, doting, dependent, adoring of her friend, and tending towards madness. In fact, both girls are tending towards madness, and in their case, one plus one makes ten. The actresses playing the girls are simply spectacular. The more amazing performance of the two is that by Alexandra Roach. She has such sensitivity that she is like a violin that plays itself simply by being hung up on a peg in the wind, free to vibrate in a series of harmonies and disharmonies, as each scene requires and as the wind of the story blows. She plays the dependent friend, named Domenica Law, who is called 'Do'. Her performance is the key, and makes the whole film work. One can imagine other actresses playing the other girl, but I can think of no other actress who could have played 'Do' so well. The other lead actress has the charming name of Tuppence Middleton. She must have had very whimsical parents and endured a great many jokes about her name at school. She is certainly worth more than that. Miss Two Pennies has a special quality of what I would call 'languid allure'. This works very well in the quieter moments of her performance, and when she is meant to be raving, she ceases to be languid and becomes frenetic instead. The end result is a nicely balanced portrayal of a girl on the edge. Kerry Fox plays a sinister and enigmatic protectress, who may be a mantis. The study of the intimate friendship between two girls who cannot bring themselves to part even though they are wholly incompatible is handled with elegance and sensitivity. Perhaps Iain Softley is really a girl. This is a deeply intriguing, intensely ambiguous and mysterious film with all kinds of resonances, some of them out of the range of hearing but nevertheless efficacious. The film reminds me of Tartini's 'third tone'. And that remark also is an intelligence test.

Reviewed by robert-temple-1 10 / 10

Spectacularly brilliant and highly sophisticated thriller by Iain Softley

Iain Softley is one of the most original and talented of all British film directors. He has directed so many astonishing films that one's mind has long been boggled by them. There was K-PAX (2001, see my review), a film which entered another dimension and got the best out of Kevin Spacey. Softley's first film was the excellent BACKBEAT (1994), followed by the innovative and gripping HACKERS (1995), where the young Angelina Jolie pushed the envelope. And then there was the wonderful Henry James adaptation, THE WINGS OF THE DOVE (1997). All of these were first rate films. And now he has made a masterpiece of modern film noir, based on a French novel by Sebastien Japrisot, from which Softley has written the screenplay himself. Japrisot (pen name and anagram of Jean-Baptise Rossi) is a well known writer, one of whose novels gave us A VERY LONG ENGAGEMENT (aka UN LONG DIMANCHE DE FIANCAILLES, 2004) with Audrey Tautou and Jodie Foster, and he also wrote THE CHILDREN OF THE MARSHLAND (aka LES ENFANTS DU MARAIS, 1999), which is very difficult to find with subtitles but is well worth the search and, I fear, the price. This film is based on his novel PIEGE POUR CENDRILLON, which was filmed previously in 1965, though no review of it exists on IMDb. The earlier version was scripted jointly by the author and the famous playwright Jean Anouilh, along with the director, Andre Cayatte. Not having seen the earlier film or read the novel, I cannot speak of their endings. Nor do I intend to reveal the ending of this film, except to point out that it is not to be found within the film itself. That may sound like a contradiction, but let me explain. I have never seen, in all the mystery films I have watched over the years, a film constructed in such a way that the viewer is intentionally left to figure out the ultimate mystery of the film himself or herself, after the film ostensibly ended. All of the evidence is there, and the director throws down the challenge to the viewer as if to say: I have hidden the answer in plain sight, now will you open your eyes please? Really, that is such an exquisitely sophisticated thing to do that I am full of admiration. In a way, you could say that this film is a classic intelligence test. But we are not talking about any old whodunit, this is a psychological thriller par excellence. The main characters are two girls who have known each other since childhood. One is beautiful, rich and a raver, and the other is demure, attractive without being beautiful, doting, dependent, adoring of her friend, and tending towards madness. In fact, both girls are tending towards madness, and in their case, one plus one makes ten. The actresses playing the girls are simply spectacular. The more amazing performance of the two is that by Alexandra Roach. She has such sensitivity that she is like a violin that plays itself simply by being hung up on a peg in the wind, free to vibrate in a series of harmonies and disharmonies, as each scene requires and as the wind of the story blows. She plays the dependent friend, named Domenica Law, who is called 'Do'. Her performance is the key, and makes the whole film work. One can imagine other actresses playing the other girl, but I can think of no other actress who could have played 'Do' so well. The other lead actress has the charming name of Tuppence Middleton. She must have had very whimsical parents and endured a great many jokes about her name at school. She is certainly worth more than that. Miss Two Pennies has a special quality of what I would call 'languid allure'. This works very well in the quieter moments of her performance, and when she is meant to be raving, she ceases to be languid and becomes frenetic instead. The end result is a nicely balanced portrayal of a girl on the edge. Kerry Fox plays a sinister and enigmatic protectress, who may be a mantis. The study of the intimate friendship between two girls who cannot bring themselves to part even though they are wholly incompatible is handled with elegance and sensitivity. Perhaps Iain Softley is really a girl. This is a deeply intriguing, intensely ambiguous and mysterious film with all kinds of resonances, some of them out of the range of hearing but nevertheless efficacious. The film reminds me of Tartini's 'third tone'. And that remark also is an intelligence test.

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