DOWNTON ABBEY

DOWNTON ABBEY the movie is exactly what DOWNTON ABBEY the TV show is but glossier and longer - it's sort of akin to a super version of their Christmas specials. I doubt anyone who isn't a fan of the show would watch the film - indeed no concessions are made to those who don't know the backstory of the aristocratic Crawley family. We simply dive in, in media res, with the family preparing for a Royal visit. Some characters are absent - notably Bates, and for much of the film, Mr Talbot.  Some characters are present with essentially nothing to do - notably Lord and Lady Grantham.  The action centres on Mary Talbot (as usual) - wondering whether to keep the show that is grand country living on the road - and Lady Edith missing her old career - in both cases of course we are meant to sympathise with the grand people with their obligations, and look to the loyal servants to sympathise with them, enable them, and provide moral support.  Of the visitors, the action centres of Imelda Staunton as Lady Bagshawe, and a backstairs secret she is holding that also involves Jack Leech's Branson - after all with the Downton family married of, he's the only candidate left for romance!

The resulting film is everything one expects from Downton, fully satisfying to fans of the series, and probably irritating to those who aren't. It is essentially conservative in its views of the value of the aristocracy and a rural way of life, but mildly progressive in its B plot - sympathy for closeted homosexuals; working women who have to give up their careers to be decorative arm-candy.   It looks sumptuous, with lavish costumes and ball room scenes.  And while the plot and dialogue are rather mechanical, one does of course have the joy of Maggie Smith as the dowager Duchess, with her witty one-liners, not to mention a rather emotional and lovely denouement.

DOWNTON ABBEY is rated PG and has a running time of 122 minutes. It was released earlier this year and is now available to rent and own.

THE LADY IN THE VAN - Crimbo Binge-watch #1

THE LADY IN THE VAN is the very funny, rather moving true story of an old homeless lady - Mrs Fletcher - who was taken in by the famous writer Alan Bennett.  Maybe "taken in" is too strong.  She lived in a ramshackle van, had no bathing facilities, and sold small items for money.  She parked up her van outside various houses in a street in Camden until Bennett took pity on her and let her live in his driveway and use his lavatory.   What begins as a kind of bizarre fascination turns into an odd sort of friendship, sustained over decades, culminating in an understanding of what drove her to madness, and a play, then film, for the author. 

The result is a film that is - typically Bennett!  Wry in its observations of English class niceties - the tolerance of a homeless woman by middle-class pretentious people who think they are somehow being charitable in their condescension - and yet that odd way into which English people will transform something unpleasant into a national treasure. And let's be clear about how unpleasant Mrs Fletcher's hygiene and habits could be!  

In front of the lens, Alex Jennings is superb as not just one Bennett, but two - as the author turns into his own interlocutor - a fantastic conceit that avoids the dreaded voiceover. Maggie Smith gives Fletcher more than just the Dowager Duchess' acerbic wit but also real pathos. And occasionally there's some provocative stuff about the demands that religion makes of us.  This film is both intelligent and moving - a real delight. 

THE LADY IN THE VAN is rated PG-13 and has a running time of 104 minutes. It was released in 2015.

THE SECOND BEST EXOTIC MARIGOLD HOTEL

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THE SECOND BEST EXOTIC MARIGOLD HOTEL is the inevitable sequel to the surprisingly popular and lucrative British romantic comedy set in a crumbling Indian hotel filled with English residents.  Some had come for a holiday - some because they could make their pensions stretch further.  But all were on an exploration of what it meant to be in love at an old age - what does it mean when your kids leave home and you realise you have nothing in common with your partner? How does it feel when you find yourself redundant from your children's lives?  Is it possible to have a second chance at love or a second career in your sixties and seventies?

London Film Fest 2012 Day 6 - QUARTET

Tom Courtenay and Maggie Smith as Reggie and Jean,
estranged former lovers, in QUARTET.

Dustin Hoffman's directorial début is an hilarious romantic comedy set in a nursing home for classical musicians, based on the play by Ronald Harwood (THE DIVING BELL AND THE BUTTERFLY).  The joyful good humour and colourful characters more than compensate for the rather predictable plot, the weak middle section, and the rather cowardly finale.

All romantic comedies need a sense of peril that must be resolved and an obstacle to true love. In this movie, the peril is the possibility that the rather luxurious nursing home will be closed if enough money cannot be raised at a benefit gala where the former stars take to the stage. This problem will be solved if new arrival Jean (Dame Maggie Smith) agrees to sing, and ignores the fears that she will damage her glittering reputation.  The obstacle to true love is that Jean's cuckolded ex husband Reggie (Tom Courtenay) is also a resident in the home - they are both hurting and must be brought together by the offices of the loveable rogue Wilf (Billy Connolly) and the lovably ditzy Cecily (Pauline Collins).

The movie drips with good will and good humour. To be sure, some of that humour is the rather simplistic kind - the joy of seeing well-bred old-people swearing like troopers.  But most of it is more subtle - poking fun at the egotism of celebrities and the stereotypes about the soloists versus the chorus and directors stealing ideas and being impossible (Michael Gambon in a brilliantly funny supporting role).  The problem is that we are never in any serious doubt that Jean will agree to sing, recreating the quartet from Verdi's Rigoletto that the four singers recorded in their heyday - and there is never any doubt that Jean and Reggie will be reunited.

Sheridan Smith, Billy Connolly, Maggie Smith, Pauline Collins, Tom Courtenay, Dustin Hoffman, and real-life opera star, Dame Gwyneth Jones

And while the movie drips with humanity - sympathising with people who are patronised and put on the shelf and forever regretting their former life - it does not have the gritty profundity of the movie to which it will inevitably be compared, THE BEST EXOTIC MARIGOLD HOTEL. That film tackled racism, homophobia and failed marriages - by contrast, this is a much sweeter, lighter confection. My final gripe is that while I quite understand why Dustin Hoffman did not want to risk showing his actors lip syncing to opera, I did feel rather cheated of not seeing some kind of performance at the end.

QUARTET  played Toronto and London 2012 and will be released in New Zealand on Dec 20; in Australia on Dec 26; in the USA on Dec 28; in the UK on Jan 4; in Germany on Jan 24 and in the Netherlands on Jan 31. The running time is 90 minutes. 

THE BEST EXOTIC MARIGOLD HOTEL

THE BEST EXOTIC MARIGOLD HOTEL is a movie of questionable taste and worse political judgement.  It's a testament to its charming cast that it manages to slip down rather easily, all the same. 

The basic concept is that a bunch of middle-class English pensioners move to a ramshackle Rajasthani hotel and experience epiphanies. The recent widow (Judi Dench) learns independence; the retired civil servant (Bill Nighy) and his wife (Penelope Wilton) learn that they do not love or even like each other; the two desperate singles (Celia Imrie and Ronald Pickup) learn that are still sexually attractive; the racist (Maggie Smith) learns tolerance; and the gay high court judge (Tom Wilkinson) finds peace. 

The problem with the film is the typical problem that modern England has in viewing its colonial heritage. On the one hand, it simply has to acknowledge the dirt, disease, discrimination and general chaos of modern India. On the other, it is faintly embarrassed of this disapproval given its own guilt regarding the Raj, and still has a deep-seated love of the country whose culture, language and cooking have so influenced the home nations. The result is a depiction of India that is at once patronising and awe-struck.  India is the country of spiritual revelation and ancient wisdom.  But it is also depicted as a country of almost child-like innocents who believe in happy endings, ideally set to a musical number.  This absurd juxtaposition is best summed up in the movie SLUMDOG MILLIONAIRE - marketed as a "feelgood movie" despite scenes of child beggars deliberately blinded, capped off with the obligatory song-and-dance number straight after a scene where the hero's brother has shot himself.  

THE BEST EXOTIC MARIGOLD HOTEL isn't quite as crass as SLUMDOG MILLIONAIRE. And indeed, in one storyline, we see a reconciliation between ruler and ruled played out as a reconciliation between two homosexual lovers - one a colonial, one an Indian. That at least shows some self-awareness on the part of the film-makers, although it falls far short of the kind of self-examination seen in the novels of E.M.Forster.  But at the end of the day, this is just another movie in which India is a colourful, exoticised backdrop against which pampered Westerners can gain "self-knowledge".  There's no real concern with what life there is really like. And the self-knowledge is easily gained - in the case of Maggie Smith's character, the personality alteration so swift as to beggar belief. 

Still, as I said, the movie is a surprisingly pleasant watch, mainly because it's cast is top-notch and charming, partly because where the movie is on "home soil" it is actually quite insightful.  In other words, when focusing on the disappointments of old age, the movie actually has interesting things to say about the way in which the middle classes are seeing their pension income eroded - their healthcare costs increase - the shock to discover the welfare state and corporate pension simply aren't enough - the indignity of realising one's sex life might be over - the desperation of knowing that the chances to turn one's life around are limited, if they exist at all.

THE BEST EXOTIC MARIGOLD HOTEL is on release in the UK and Ireland. It opens on March 15th in Germany; on March 22nd in Australia; Norway, the Netherlands,  New Zealand, Russia, Estonia, Finland, Spain and Sweden; on March 28th in Belgium; on March 20th in Italy and Lithuania; on April 12th in Portugal; on May 4th in India and the USA; on May 9th in France; on May 11th in Brazil; on May 17th in Hong Kong and Singapore; and on May 24th in Argentina.

London Film Fest Day 5 - FROM TIME TO TIME

Writer-director Julian Fellowes has transferred his familiar obsession with characters trapped in the British class system to the children's adventure genre, in his faithful adaptation of "The Chimneys of Green Knowe". I must confess that I did not read the book as a child, so I take the fidelity on faith and the overall style of the film, which is "heritage" film-making in the manner of THE RAILWAY CHILDREN without any vulgar American influence. The movie looks and feels traditional and heartfelt: indeed, it got a little dusty in the theatre toward the end.

The plot occurs in wartime England, both World War Two and the Napoleonic wars, hence the unhappily vague title of the film. In 1944 a young boy called Tolly is sent to stay with his Granny in her old manor house while he waits for news of his father, Missing In Action. Granny fears she will have to sell the house, and the movie has that air of pining for a lifestyle that can no longer be maintained, a little like Brideshead. The family jewels were, you see, lost in the fire that destroyed half the house in the early nineteenth century. Tolly periodically escapes into this world and meets kind Captain Oldelknow, his lovely daughter Susan, and her helper, an escaped slave boy called Jacob. Together they fight the evil butler Caxton and Susan's resentful brother Sefton. Along the way, Julian Fellowes draws a parralel between Mrs Oldeknow of C19, shut out by her social betters, and Tolly's mother, deemed "common" by Granny.

FROM TIME TO TIME is a charming little movie, well-made and well-acted by a sterling British cast. It's not going to set the world alight, but as honest family entertainment it works just fine.

LADIES IN LAVENDER - soporific schmaltz

Yes, yes, Dame Judi Dench and Dame Maggie Smith are simply marvellous actresses and it's interesting to see Charles Dance turn his hand from acting to directing. It's even rather nice to seen a costume drama set, not in a country house, but in a charming cottage on the English coast. But oh my word, this movie takes a long time to make it's rather slight emotional point. The bat's squeak of emotion barely survives the two-hour run-time.

The plot, such as it is, involves a young Polish man (Daniel Bruehl in a thankless role) who is washed up on the English coast in the middle of the last century. He is taken in by two old spinsters. The elder (Maggie Smith) is kind but reserved. The younger (Judi Dench) forms a strange attachment to the young man, becoming irrationally jealous when he forms an attachment to a young German woman (Natascha McElhone). It turns out that Judi Dench's character is trying to recapture a youthful passion. This is all very sad, but frankly, not enough to set the world alight, and certainly not enough to engage my sympathy or interest.

LADIES IN LAVENDER played Toronto 2004 and was released that year. It is available on DVD.

BECOMING JANE - lacking in wit, passion or style

BECOMING JANE is a flimsy little costume drama that shamelessly cashes in on the Jane Austen fanbase and has far too little wit, character, plot, intelligence or style to sustain its 120 minute run time.

I say this as an impartial observer. I am not one of those rabid Austen fans who resents an American lead actress (Anne Hathaway - accent and performance both fine by me.) I am rather intrigued by the idea that Austen's novels found a base in a thwarted love affair with a gallant but impoverished Irish lawyer (James McAvoy in yet another charming role). I have also read and re-read all Austen's novels - an essential prerequisite to watchng this film. For BECOMING JANE panders to people like me who can recognise protypes of famous characters in Jane's family, friends and suitors. But after a while this becomes a rather lazy means to engage our interest and I despair for any viewers who don't even have the background hum of recognition to fall back on.

We watch a young Jane feel affronted by an arrogant Lefroy at a ball, before falling in love with the one person who takes her writing seriously. The obstacle to the match is their poverty: each must marry well. The screenwriters - Kevin Hood and Sarah Williams - try to conjure a little excitement with an elopment - but it feels like what it is: padding.

In the end, we are left with the fact that Jane Austen wrote a couple of marvellous novels, but lived a rather quiet life that was clearly insufficient in excitement to fill a film. Worst of all, the simplistic structure and banal dialogue of BECOMING JANE look all the more mediocre when the film is constantly referring our attention to the superior art of Austen.

BECOMING JANE is on release in the UK. It opens in Australia on March 29th, in Sweden on March 30th, in Finland on June 29th, in the US on August 3rd, in the Netherlands on August 16th, in Norway on September 14th, in Germany on October 4th and in Spain on October 19th.

KEEPING MUM - Alleged comedy about an axe-wielding au-pair that is significantly less funny than you might think from that description

KEEPING MUM is a movie made in the “British Nanny” genre. This includes many movies which are not in fact British and do not feature British characters, or even a nanny. But you know what I mean. They are movies like Nanny McPhee, The Sound of Music or Don’t tell Mom, The Babysitter’s Dead. There is a family that is troubled – the kids are unruly, the parents in difficulty – but nothing actually dysfunctional. In walks the nanny figure, who may or may not actually be a nanny. He/she starts cooking, cleaning and sorting out the local bully, and before you know it, everything is hunky-dory again. Generally speaking, I don’t mind these movies. They plug a gap in the market for safe kiddie-friendly films, and leave you with a generally warm feeling – as if all of life’s problems could be solved with some home-made scones and a cheery tune.

However, in order to bask in the audiences collective good-will, these movies need to get two things right. First, they need to have genuinely engaging and sympathetic characters. I don’t need to find the characters plausible, I just need to be happy to spend two hours in their company. Second, there have to be some good gags.

All of which brings me round to telling you why I think KEEPING MUM is a cinematic stinker. In features a bunch of great British character actors being self-absorbed and mean, even after the Nanny arrives. We have Rowan Atkinson as a vicar who is too busy with work to pay attention to his wife, and then post-nanny, too busy with his wife to pay attention to his parishioners. His wife, played by the usually marvellous Kristin Scott Thomas, is having an affair with a lecherous golf-pro, played by Patrick Swayze. She decides to chuck in her husband almost on a whim and post-Nanny undergoes a highly ridiculous conversion into…well, that would ruin the alleged plot-twist.

The second problem is that the script does not contain enough funny material. Somewhere out there there’s probably a great film about an axe-murdering au pair, but this just isn’t it. Even Swayze in a posing pouch doesn’t raise a titter, and while he does languish in sleaze, this isn’t as blackly funny a role as the one he took in Donnie Darko. Even when Rowan Atkinson gets transformed into a “funny” vicar, and is supposedly packing in the audiences with his side-splitting homilies, I could still not detect a joke. Sucks.

KEEPING MUM is now available on Region 2 DVD. But then again, so is CATWOMAN, but you don't see me renting that either.