Ellie Bamber has a confession to make: she judges books by their covers. “Sometimes – and I know people say this is awful – I do just go into a bookshop and think, ‘Oh, that cover looks nice’,” the actor laughs.
But that doesn’t mean the content of the book need be equally palatable. Her current read, My Year Of Rest And Relaxation, which she brings to breakfast with Stylist, has a quaint, period cover. But Ottessa Moshfegh’s second novel “is about this woman who gets loads of sleeping pills and decides to hibernate for a year because she thinks it might help her,” explains 21-year-old Bamber in a Bloomsbury cafe near her central London flat. “It’s intriguing. The author has a dark voice.”
Another less-than-light read is the reason we’re meeting. Bamber recently devoured Victor Hugo’s Les Misérables in anticipation of her role as Cosette in a new dramatisation of the French historical novel. The six-part BBC drama dispenses with songs to stay closer to Hugo’s doorstop of a book. The period piece also draws parallels with contemporary global unrest.
It’s lavish, but it is gruelling. Fans of the novel, the blockbuster musical or this new adaptation on BBC One will know that Bamber’s turn as Cosette comes after several episodes of untold misery. She gets all the nice costumes but she doesn’t escape scot-free. “You see that Cosette is given away by her mother to this extremely abusive family and, as Victor Hugo says, she’s treated like the household drudge by the parents and children.”
We meet the week before Christmas and Bamber is working right up to the break. This is what it’s like when you’re an actor of the moment. She’s just back from shooting a film, The Seven Sorrows Of Mary, in Rio. Currently, she’s juggling work on another British film, The Show (“a comedy shot through an LSD lens”, she laughs) and a second BBC drama. It doesn’t leave much time for rest and relaxation.
“I was filming two different things all last week,” she says. “So I had a fairly chilled out weekend just hanging out and reading this book.”
Bamber has been in demand ever since she started acting at school, where she won drama scholarships. Brought up in Berkshire and with the support of her parents – her mum is her manager – she was on the West End stage with a part in a prestigious Sir Trevor Nunn play, Aspects Of Love, by the age of 13.
Television, theatre and film work followed but it was playing the daughter of Jake Gyllenhaal and Isla Fisher’s characters in Nocturnal Animals that gave her a Hollywood break. Chanel appointed her as an ambassador in 2016. But while Bamber is major red carpet material, she’s much more than outward appearances.
She’s drawn to all sorts of stories, but she excels in dramas that blend her obvious glamour with substantial amounts of grit. It started with Nocturnal Animals. The work of a celebrated designer, Tom Ford’s film looked suitably stylish. But its substance dealt in the knottier, often violent aspects of the human condition. Bamber’s character, in particular, had a grim time of it.
Her new work, discussed over scrambled eggs and Americanos, also sits on the grittier end of the spectrum. The Seven Sorrows Of Mary is a terrifying-sounding thriller about a tourist couple who are kidnapped and tortured by a gang in Rio de Janeiro. The other BBC drama in the works is The Trial of Christine Keeler, a take on the political sex scandal that rocked the British establishment in the Sixties, written and directed by women.
Bamber plays Christine Keeler’s friend and fellow showgirl Mandy Rice-Davies, who challenged the characterisation of herself as a fallen woman. It’s a meaty role that should seal 2019 as Bamber’s year. She shows Stylist a snap on her phone of herself in character, complete with Sixties’ bob and red lipstick.
But while the actor enjoyed the glitzier side to Rice-Davies, she was drawn to the substance of her story. She read her memoir (Bamber really does her homework) in which the former showgirl proves herself to be more than what the headlines of the time portrayed.
“Mandy was so fun and vivacious, she didn’t hold back,” says Bamber, a woman who clearly likes to look beyond appearances. “But the way these girls got labelled by men at the time… it was a lot.”(more…)
The first look image has been released from British independent movie “The Show,” based on an original story by graphic novel creator Alan Moore best known for “Watchmen,” “V for Vendetta,” “The League of Extraordinary Gentlemen” and “From Hell.” The cast is led by Tom Burke, whose credits include “War and Peace,” “The Souvenir” and “Only God Forgives.”
Other members of the cast include Siobhan Hewlett (“Show Pieces”), Ellie Bamber (“Nocturnal Animals,” “The Nutcracker and the Four Realms”), Sheila Atim (“Girl From the North Country”), Richard Dillane (“The White Princess,” “The Last Post”) and Moore himself.
The movie is directed by Mitch Jenkins from a script by Moore, his first original feature film screenplay to be produced. Production is underway in Northampton, U.K. Moore and Jenkins previously produced “Show Pieces,” a cycle of short films.
“The Show” follows Fletcher Dennis (Burke), who has been hired to track down a stolen artefact. This leads him to Northampton, a “haunted town” at “England’s broken heart” that has “collapsed to a black hole of dreams.” Burke finds himself “sinking in a quicksand twilight world of dead Lotharios, comatose sleeping beauties, Voodoo gangsters, masked adventurers, unlikely 1930s private eyes and violent chiaroscuro women.”
Jim Mooney and Mike Elliott of EMU Films and Lex Films’ Tom Brown are producing. Finance is provided by BFI, awarding funds from the National Lottery, along with Lipsync. Protagonist Pictures will handle worldwide sales.
“I wanted to see if it was possible to create an immersive and addictive world with no throwaway dialogue and no throwaway characters, a world where every character is memorable, distinctive and attempting to steal the whole show for themselves, just as we do in real life,” Moore said.
“I wanted to take some very old-school approaches to film and to find out, alongside Mitch Jenkins, what would happen if you connected them up with some very modern ideas and technical capabilities, and I wanted to make a piece of radical and progressive cinema that was also ridiculously sumptuous, involving and entertaining: a genuinely spectacular show.”