“Love, it’s like a dripping tap”
First up was 2002’s All or Nothing, though it was a little of an inauspicious beginning, as I’m not sure how much I actually liked this film in the end. Set on a modern-day London council estate, it circles the fortunes of three working-class families and their everyday lives, so far so Leigh, but it doesn’t really develop into anything that gripped me. There are several outstandingly strong elements in here, but they never really coalesce into an effective whole but rather remain too separate and thus end up losing some impact.
The focus settles on one of the families: Phil, Timothy Spall, is a taxi driver who has long lost ambition for life and is reduced to scraping pennies from his family in order to pay his retainer for the taxi firm; Penny, Lesley Manville, works the checkout at a supermarket and is struggling to remember what it is she ever loved about Phil. Alison Garland plays their daughter Rachel who works as a cleaner in an old people’s home and is being semi-stalked by Sam Kelly’s much older colleague and James Corden is their unemployed and belligerent son. There’s a whole lot of misery, which is then alleviated by tragedy, which ultimately suggests that life might hold something more. Continue reading “DVD Review: All or Nothing”
“When I see the common man in the street, I’m struck by how little I know of his life and how little he knows of mine”
My abiding memory of going to see The King’s Speech at the cinema was the bizarre round of applause that came at the end from about two thirds of the Hammersmith Cineworld audience, a truly odd moment. I did rather like the film, but couldn’t quite see why it was lauded quite so much: it tells its story extremely well but lacked a certain emotional heart for me, I didn’t end up caring a huge amount for Colin Firth’s George VI if I’m honest. But as the film came on over Christmas, I decided to give it a go again, not least becaus I will be going to see the play of The King’s Speech in Guildford in February, David Seidler having initially written this for the stage.
Again, I did quite enjoy watching the film, but was struck by how emotionally uninvolving it is for large stretches. Normally, I’d be a sucker for this kind of thing but for whatever reason, it never quite hits the mark. Firth is good as the monarch faced with trying to conquer his stammer but his Oscar should really have come the year before for A Single Man and Geoffrey Rush is superb as the anarchic Antipodean speech therapist whose unconventional methods eventually reap rewards. But it is only in Helena Bonham Carter’s excellent Queen Elizabeth (now, she should definitely have won the Oscar for making such a brilliant job out of a role that basically required her to just react) that the movie has any heart, her looks of tender concern and joy full of deep meaning and a wry sense of humour about her position that manifests itself in some great one-liners. Continue reading “DVD Review: The King’s Speech”
“Eminently practical and yet appropriate as always”
I’ve been experimenting with a few DVD reviews over the past weeks –theatrical ones, charity shop bargain ones and I’ve been longing to revisit film versions of several shows that I’ve seen recently. In some cases, I knew the show before seeing the film, but in others, my first contact was on celluloid (or whatever it is they use these days) and Sweeney Todd: The Demon Barber of Fleet Street was one of these. I actually saw it at the BFI when it was first released, with a Q+A with Tim Burton at the end of it (which was rather cringe-worthy with every question starting with ‘I love your films…’, ‘I love your work…’, ; ‘I love your socks…’). I came out of the film having rather loved it but it was only this autumn that I finally got round to seeing it on the stage at Chichester in a sensational production which has finally announced its transfer to the Adelphi from March next year.
As to be expected, it is an overtly Burton-esque piece of work with its desaturated palette allowing the red of the blood to pop even more than usual and the focus being on psychologically disturbed character. Frequent collaborators Johnny Depp and Helena Bonham-Carter take on the lead roles of Sweeney Todd and Mrs Lovett and though neither of their voices are particularly strong, especially when up against Sondheim’s challenging score, Burton manages to make that much less of an issue than one might have thought. There’s a brooding intensity to the whole affair, a sense of drained weariness which subsequently finds strength in the vocal frailties. Alan Rickman makes a perfect Judge Turpin, his sonorous malevolence a highlight of the film especially in the ‘Pretty Women’ duet; Timothy Spall’s Turpin makes a strong impact too as does Sacha Baron Cohen’s would-be manipulator Signor Pirelli. Continue reading “DVD Review: Sweeney Todd: The Demon Barber of Fleet Street”