The first couple of episodes of Julian Fellowes’ latest TV series Belgravia are quite frankly an embarrassment
“How strange that we should be having a ball when we are on the brink of war”
Who knows what hold Julian Fellowes has over the British cultural industries as once again, another major commission comes through for this painfully lazy of writers. I should have resisted Belgravia but with a cast that includes Harriet Walter, Tara Fitzgerald and Saskia Reeves, not to mention Penny Layden and Adam James, curiosity got the better of me and by the crin, I wish it hadn’t. Lucy Mangan puts it scathingly well in her review for the Guardian and I couldn’t have put it any better. Avoid like the, well, plague.
“The crisis is over. Isn’t it…?”
The Hampstead Downstairs continues its strong run of programming with The Argument, further developing already existing creative relationships. This is William Boyd’s first original play, following his adaptation of 2 Chekhov short stories in Longing which played the main house in 2013, and it is directed by Anna Ledwich, who helmed the Olivier-nominated Four Minutes Twelve Seconds here in 2014.
Though it is a much abused term when it comes to theatre marketing, The Argument really does fall into the category of dark comedy. Pip and Meredith are just back from seeing some popcorn flick at the cinema and a disagreement about the flimsiness of the plot snowballs into a titanic argument about the very nature of their relationship, which then cracks under the strain. In a series of two-handers, Boyd then shows us how the ripples of this quarrel impact on their best friends Tony and Jane and her parents Chloe and Frank, provoking new arguments too. Continue reading “Review: The Argument, Hampstead Downstairs”
“The proof of our success is we’re victims of it”
The news of a sequel to the better-than-I-thought-it-would-be The Best Exotic Marigold Hotel was received with something of a heavy heart, the automatic assumption being that it wouldn’t, couldn’t, match the success of the first film. But dangnabbit if ain’t actually, possibly, slightly better. Managing the not inconsiderable feat of reuniting the vast majority of the ensemble with writer Ol Parker and director John Madden, The Second Best Exotic Marigold Hotel navigates many of the pitfalls of sequels to produce a story that is at times, deeply moving.
It manages this by emphasising its strengths in its stunning array of acting talent and really capitalising on the universe it built up. Though there are a couple of new faces (Richard Gere and Tamsin Greig), the film focuses on a genuine continuation of story and character. We return to the Indian city of Jaipur where Dev Patel’s Sonny and Maggie Smith’s Muriel’s retirement home is going great guns and they’re looking for finance for a new location, dependent on the results from an anonymous inspection (which is where Gere and Greig come in, thankfully briefly). Continue reading “DVD Review: The Second Best Exotic Marigold Hotel”
A real work of art this. Johnny Daukes’ Wonder
has much of the multi-stranded, deeply emotional feel of one of my favourite films Lantana
and is just beautifully made. Set in London with the odd excursion to the picturesque Dorset coast, a set of disparate lives are shown to us – a couple about to separate, another one tired of their long relationship, a family grieving, a jealous lover wanting to trust his boyfriend. Daukes spares us too much dialogue and focuses instead on gorgeous shots and an evocative, self-penned score, making this a deserved success.
Continue reading “Short Film Review #44”
“You won’t see better for your grey pound”
The opening quarter of John Madden’s film The Best Exotic Marigold Hotel might leave you wondering about the state of British comedy and our collective tastes, given that it really was quite the box office success in 2011. A unconnected collection of retired and retiring Brits all decide to up sticks and move to a hotel in the Indian city of Jaipur, though it turns out the judicious use of Photoshop means it is not quite the luxurious venue it has set itself up to be. Their reasons for going are various – personal, medical, debt-fuelled – and as we delve into each of these characters, we see how their journeys are just as much emotional as they are physical.
The film’s success was practically guaranteed with its luxurious casting of the crème de la crème of this particular age bracket – Judi Dench, Celia Imrie, Bill Nighy, Ronald Pickup, Maggie Smith, Tom Wilkinson, Penelope Wilton, its pretty much a dream collection and they add a veneer of class to the whole film which pulls it through its undoubtedly tricksier moments. These come during the aforementioned opening section which seems to set the film up as a broad culture-clash comedy, poking easy fun at the discomfort of elderly travellers arriving in a completely foreign land. Is it funny? Are racist comments in this context acceptable because they’re delivered with a wonderfully acerbic bite by Maggie Smith? I guess it is a decision you make for yourself but it feels a fine line. Continue reading “DVD Review: The Best Exotic Marigold Hotel”
With the news that the wonderful Rio cinema in Dalston is once again under threat, Paul Rapacioli and Joe Shaw’s film Passing Through feels an entirely appropriate starting point for this post, even though it was made in 2002. A ruminative love letter to the cinema – both in terms of classic film-making and also the demise of old-school picture houses – it’s a powerfully moving and beautiful piece of work as Graham Pountney’s projectionist marks his last day at work, before enforced early retirement, with an uncharacteristic act of rebellion. It’s a heartfelt choice and even in the depths of despair, it brings to him something infinitely lasting, reminding us all of the magic of the cinema. Highly recommended.
The premise behind Joyce Treasure’s Be Mine is really rather lovely – a 10 year girl from some rough area of Birmingham dreams of a shiny red bike in a local shop window, and expresses her desire mainly through the medium of song and dance. And in Esther May Campbell’s 2005 film, it has a delightfully homespun charm about it as Sophie Jukes’ Tina tries to persuade her mum (Maxine Peake) that it would be the perfect birthday present. As part of the Bollywood Shorts competition, it draws on sub-Continental influences but could have perhaps gone a little further – the main dance routine does come a little out of nowhere – but the ambition of this project is definitely delightful.
Dan Zeff’s film features a most fresh-faced David Tennant as Pete, an attentive young man agonising over the most painless way to dump his girlfriend Juliet. He makes everything as nice as can be, treats her well and prepares her for a life-changing revelation but before he actually gets to it, the phone rings and Juliet answers, revealing that she’s got the wrong end of the stick and thinks he is trying to propose. The ‘news’ soon spreads quickly and an array of well-wishers turn up to wish them well, including nice turns from Diana Hardcastle as her mother, Thusitha Jayasundera as a colleague of hers, the hilarious Bruce Mackinnon as one of his friends and Barry McCarthy as his dad. The final note doesn’t quite have the impact it desires, the abrupt end a little too brutal but it’s fun none the less.
Benedict Wong has had a great year on the stage but delving into his filmography has been lots of fun too as his short film work is pretty bloody good too. Selina Lim’s Painkiller is another example of his extraordinary talent at bringing portrayals of bruised masculinity to life as a stick-up of a convenience store goes wrong with him stuck inside. Franz Drameh’s Dominic is the youthful robber determined to make a quick getaway but finds himself distracted and nearly derailed by Wong’s Jay, a depressed taxi driver who manages to connect with him. Director Mustapha Kseibati keeps us on our toes throughout, throwing in sharp beats, comic beats, dark beats, particularly where Kris Saddler’s hapless cashier is involved, and it makes for a brilliant piece of film.
“The one thing sharper than a serpent’s tooth is a sister’s ingratitude”
A Delicate Balance won Edward Albee the first of his three Pulitzer Prizes and director James Macdonald has brought it to the Almeida Theatre as the fourth of his plays to be performed there. Albee is perhaps best known for Who’s Afraid of Virginia Woolf? and this play shares similarities with that work in its focus on the travails of rich urban socialites, their relationships and what nastiness lurks beneath their genteel facades but A Delicate Balance pulls the focus a little wider to look at an entire dysfunctional household.
Tobias and Agnes are a couple whose very well-appointed life of cocktails and social clubs suggests a world of comfortable privilege. But from the off, it is evident all is not quite rosy as we discover they sleep in different bedrooms, Agnes’ alcoholic sister Claire is living with them and their daughter Julia is experiencing marital discord, for the fourth time though still in her 30s. Further complicating matters is the arrival of their best friends, Harry and Edna, who arrive unexpectedly, utterly traumatised by an unknown fear at their house, and having decided to move in with them. When Julia arrives back at the family home the next morning, having indeed split up from her fourth husband, to find strangers in her childhood bedroom, the battlelines are drawn as family are pitched against friends and loyalties stretched to their limits. Continue reading “Review: A Delicate Balance, Almeida”