BETTER MAN*****

Recency bias, but BETTER MAN may be one of the best films I saw in 2024. I cannot describe just how imaginative, kinetic, audacious and moving this film is.  Admittedly, Robbie Williams was a big part of the pop-cultural backdrop of my teenage years and early 20s. But I would like to think that even if you had never heard of one of Britain's biggest selling music stars, you would still get a lot from this deeply raw, deeply humane, film.

Williams has been open about his life story, not least in a multi-part Netflix doc.  He grew up in poverty in a former industrial town in England, with a father (Inside No. 9's Steve Pemberton - superb) who dreamt of stardom and abandoned Robbie and his mum when he was little.  At 15, he was plucked from obscurity to be part of one of the biggest Boy Band's of all time, but on the strict instructions that he was just the clown and the backing dancer, rather than having any musical or creative credibility.  By 19 he had left Take That and gone solo, with the self-imposed demons of trying to impress his absentee dad and trying to outcompete his old band and their newer rivals, Oasis. If Oasis sold out Knebworth, then Williams too had to sell out Knebworth.

The film is absolutely blunt about Williams' demons.  He is an alcoholic and drug addict and faces demons of self-doubt and self-hatred.  At many points we see Williams cutting cocaine with a razor and we later see suicidal ideation.  The genius of Williams and writer-director Michael Gracey (THE GREATEST SHOWMAN) is to depict Williams as a CGI-chimp, overlaid on real vocal and physical performance from Jonno Davies.  Through that avatar we see Williams as he sees himself - an outcast, a court jester, an animal.  But we also see an incredible range of emotion - from fear to joy to hurt and anxiety.  The eyes are so expressive and the child-hood version of the chimp is particularly winning.  And when Robbie is facing his demons, they are avatars of himself as a chimp - in various guises and from different parts of his life.  When he finally faces them down, and learns to forgive his dad in order to love himself, it's a moment of deep catharsis.

That Williams survives is down to his own hard work in rehab and his own honesty - but also the love of three women - his mum, his adoring grandma (Alison Steadman - superb as always) and for a period his fiancé his Nicole Appleton.  This part of the story is hard to watch.  Williams' addiction is in full-throttle and she is clearly in love with him.  We also get the revelation that she was forced into an abortion by her manager as she was on the cusp of her own chart success.

And what of the construction of the film?  Well, hear me out: this may well be the best movie musical of 2024, and yes that includes WICKED. The set-piece numbers are sensational.  There's a bravura montage set to Williams' hit Rock DJ, filmed on Piccadilly and Regent Street, that takes us through Take That's rise to success. For those of who remember those outfits and haircuts and dance moves, it's a kinetic, technically brilliant piece of musical theatre. Later in the film there's an equally brilliantly staged montage that shows Williams going from a meet-cute with Appleton to getting engaged and mourning the abortion.  The actress Raechelle Banno must be quite some dancer, as that dance scene set on a boat is phenomenal.  The final musical number I would like to call out is to Williams' hit Angels. Here we have him on the verge of Knebworth but mourning the death of his grandma. This is when I started crying.

I cannot speak more highly of Williams' honesty and creativity and his partnership with Gracey. BETTER MAN is one of the most unique, compelling and affecting films I have seen all year. It's also one of the most honest and moving depiction of addiction and mental health crisis that I have seen on film EVER.  I heartily recommend it to you.

BETTER MAN is rated R, has a running time of 134 minutes, and was released in the USA on Christmas Day and  UK on Boxing Day.

Mike Leigh retrospective - ABIGAIL'S PARTY

ABIGAIL'S PARTY has a mammoth reputation in British cultural history. It's a late 1970s TV play that threw a satirical light on the British obsessions of class, social climbing, and consumerism. It made Alison Steadman famous and propelled sometime actor Mike Leigh into his career as a writer-director.

I found ABIGAIL'S PARTY heavy work. Recent television shows such as SHAMELESS have made an art-form of the serio-comedy that satirises British class prejudice and social aspiration. As a result, ABIGAIL'S PARTY feels like a clunking prototype that is less subtle and insightful than its successors.

The film is a straightforward adaptation of a stage play, and is filmed in a very unambitious "camera in front of the proscenium arch" style. All the action takes place in a suburban living room in 1970s Britain. A couple - Beverly and Laurence - are hosting their neighbours - a couple called Angela and Tony and a divorced mother called Susan. Susan's teenage daughter, Abigail, is hosting a party next door but is never seen. Over the course of the evening, alcohol is consumed, music is played and marital tensions exposed. There is also a rather incredible and odd denouement.

Alison Steadman is much-praised for her performance as the domineering, sharp-tongued social climber, Beverly. It's true that Beverly is a true monster and, as such, a memorable creation. But is she credible? Is she funny? Certainly, we can all recognise aspects of her character - the grandstanding - the ambition - her self-delusion - the ruthless use of others for her own ends. But Steadman's shrill voice, heavy accent and over-bearing body language turn Beverly into a caricature rather than a real character. As a result, it's hard to empathise with her and, worse still, hard to remain interested in her after the first fifteen minutes or so.

Janine Duvitski also adopts a caricature accent as Beverly's dowdy neightbour, Angela. Angela is a nurse and has a more practical mind than Beverly but still whines about inconsequential matters.

Both of these women are contrasted with their emasculated husbands. Indeed, they barely register as a presence: Beverly's husband Laurence (Tim Stern) is mostly absent, running errands, and Angela's husband Tony (John Salthouse) is silent and superior. One wonders why, if he feels so superior to his own prattling wife, he is so taken in by another.

All four neighbours are thrown into contrast with the patient, poised, evidently upper middle-class neighbour, Susan, played by Harriet Reynolds.

Mike Leigh is presumably trying to make some sort of point about the superficiality and frustration at the heart of British lower-middle class life in the 1970s. The audience is invited to mock people who try to portray themselves as having superior taste in music and clothes, but only reveal themselves to be kitsch. Are we meant to feel sympathy for these characters? After all, they are all deeply unhappy? Sadly, I don't think so.

To me, this film felt deeply nasty - just an opportunity to mock people of poor taste, unhappy marriages and superficial character. Maybe I'm missing something, but I could discern nothing that was funny or insightful or that spoke to the human condition.

ABIGAIL'S PARTY was originally broadcast on British TV in 1977. It is available on DVD.

CONFETTI - Truly a Wasted Talent Production

CONFETTI smacks of a shameless cash-in on the back of the recent success of TV mockumentaries such as The Office and Nighty Night, and the more long-lived hackneyed schmaltz purveyed by Richard Curtis. This mish-mash of genres should be clear from the following short description of the "concept" of the film: a fictional British wedding magazine called Confetti is running a competition for its readers. Three short-listed couples are competing to stage the most original weddings they can imagine, followed by the film-crew that is producing this film. We get to see the run-up to the wedding day, the three weddings themselves and the aftermath of the contest.

Where the movie gets it right is in showing the hoop-la that surrounds a big wedding, and the way in which a couple can be forced into doing all sorts of stuff that they don't want to do. And, thanks to the lovely acting, especially from Martin Freeman and Stephen Mangan, I did find myself rooting for all the couples and being strangely moved by the wedding ceremonies themselves. In other words, the Richard Curtiss fans probably won't be too disappointed.

However, if CONFETTI succeeds in being "sweet" it fails in its mission to make us laugh. The main problem is that the improvised script is distinctly short on laughs - whether subtle and observational or just plain slapstick. It is not hard to see where the film-makers have gone wrong. Why oh why dispense with a scriptwriter? Just because an actor can act well does not mean he can write his own material too. Ricky Gervais and Larry David are the exceptions, not the rule.

Another big fat problem is that the film completely fails as a mockumentary along the lines of This is Spinal Tap or The Office. These films work because the film-makers successfully create the illusion that they are genuinely photographing something that is actually happening. How do they do this? First, they use only the camera angles and shooting styles that would be available to a documentary crew. In The Office this is done to great effect - we are forever looking through windows, or around corners to catch characters doing things they would rather not see on tape. Most obviously, in the case of The Office, we never follow the characters home, or see them DELIBERATELY reveal a side of themselves that they would choose to keep hidden. The humour derives from the unconscious and unintended revelations of insecurity or arrogance. But in CONFETTI, the film-makers break all these rules again and again. So while we do have the straight-to-camera interviews and the hand-held camera observational shots, we also have a bunch of footage that couldn't possibly have been filmed had this been a real documentary. The most obvious error is including a lot of intimate scenes between various couples in their respective bedrooms. But we also get a lot of straightforwardly filmed shots that should have been shot in a voyeuristic, sneaky manner.

Like I said, CONFETTI may be "sweet" on occasion, but it fails in its central mission to make us laugh. With the benefit of hindsight, the only mild humour is derived from one of the opening credits, which informs us that Confetti is A Wasted Talent Production. Never a truer word said. Indeed, there is a sort of achievement in casting Martin Freeman, Jimmy Carr, Julia Davis and Alison Steadman in a film that DOESN'T make us laugh. However, it is not the kind of achievement you want to spend ten squid on seeing.

CONFETTI is on general release in the UK. It hits Australia with a damp thud on June 22nd 2006, squelches into Germany on September 7th 2006 and finally thumbs its nose at France on October 11th.