My Brother Jonathan (1948)

My Brother Jonathan

There’s something I should have told you a long time ago. GP Jonathan Dakers (Michael Denison) welcomes home his son Tony (Pete Murray) from WW2 and when Tony reveals he’s seen too much and is quitting medicine, Jonathan tells him the story of his real background … Early 1900s. Jonathan is the older son of shady businessman Eugene (James Robertson Justice) and brother of Harold (Ronald Howard) and falls in love at a young age with Edie (Beatrice Campbell) daughter of landed gentry but she only ever had eyes for Harold. Jonathan trains as a doctor. When the mysterious Eugene dies his real job is revealed – corset salesman. His wife (Mary Clare) is none the wiser and believes he had social significance. However he’s spent their inheritance and Jonathan undertakes to save the family home and put Harold through his final year at Cambridge, sacrificing his own potential career as a surgeon. He works in the West Midlands in the general practice of Dr John Hammond (Finlay Currie) whose daughter Rachel (Dulcie Gray) is the practice nurse and she falls in love with Jonathan but he still has eyes for Edie.  The practice clientele are working class and he has to deal with the consequences of the regular accidents at the local foundry leading him to write a critical report which is conveniently lost. He is constantly criticised and when he saves a local child from diphteria in the hospital he has to face down the owner’s son-in-law and his medical rival Dr Craig (Stephen Murray) on charges of misconduct. Edie returns from Paris and intends wedding Harold, to Jonathan’s chagrin, but WW1 is declared and Harold is killed in action, leaving Edie pregnant and in a serious dilemma because she knows her parents will disown her … It must be nice to know what you want out of life. Adapted from Francis Brett Young’s novel by Adrian Alington and Leslie Landau, this was hugely popular at the British box office and unites real-life husband and wife Denison and Gray in one of their best films. It has all the ingredients of a melodrama but is supremely well-managed, beautifully shot and gracefully performed. The social message isn’t hammered home, it carefully underlines all the choices that the idealistic protagonist makes and is skillfully drawn as this picture of changing society emerges in intertwining plots of medicine and relationships. Directed by Harold French. They only have one idea in this country and that’s disgusting

Le Week-End (2013)

Le Weekend

I’m amazed at how mediocre I’ve turned out to be. Nick (Jim Broadbent) and Meg Burrows (Lindsay Duncan) are a married academic couple from Birmingham advancing in age and tension. To mark their 30th wedding anniversary, the two embark on a trip to the place they honeymooned three decades before: Paris. Hoping to rejuvenate their marriage, the couple arrives in Paris only for things not to go as planned. Their honeymoon hotel is horrifying so Meg insists on booking into the best hotel in town. They eat lavishly and run out of a restaurant without paying. Their hi jinks re-ignite their romance. Their son wants to move back in but Meg is adamant he can’t, Nick fields the calls from back in England as Meg rages that he is too tolerant. Eventually, the two bump into Nick’s former Cambridge acolyte Morgan (Jeff Goldblum) who is now a philosophy star and they attend a dinner party at his posh Rue de Rivoli home that ultimately opens up a new view of life and love for the ageing couple… I knew this trip would be a fucking disaster. Author and screenwriter Hanif Kureishi’s fourth collaboration with director Roger Michell is all at once delightful homage, biting meditation on ageing and a thoughtful discourse on the absurd difficulties of sustaining an enduring marriage. It’s also a sly commentary on academic rivalry, PC-ness (Nick is being retired early because he told a black woman student she should spend more time on the books and less on her hair), wrongful assumptions about the person you know best and the real problems of intimacy after decades living in someone else’s pocket. This last five to ten years your vagina has become something of a closed book. Sentimental Broadbent is angry beneath that pleading surface;  flinty Duncan is superficially icy but truly loyal – and hot. When Morgan takes Nick’s raucous and self-pitying dinner party confession for a kind of Situationist performance and both husband and wife are disgusted by his ignorance of the truth when it’s laid bare, it is a joy to behold them unite again. And then, the ending, a glorious homage to Bande à part, re-enacting a scene in a simple but uplifting manner that might make you fear growing old just a little bit less. You’ll recognise Morgan’s son as Olly Alexander, of the band Years and Years. This is where I want to be forever

The Wrong Box (1966)

The Wrong Box

He who Fate sees fit to favour. The Finsbury brothers, Masterman (John Mills) and Joseph (Ralph Richardson), are the last two surviving members of a sixty-two year old tontine [a pool of money/investment scheme] that will pay a huge sum to whomever lives longest. Hoping to bankroll his perpetually bewildered grandson Michael (Michael Caine), Masterman asks Joseph to visit with the intention of killing him. However Joseph’s two scheming nephews John (Dudley Moore) and Morris (Peter Cook) also want the money. and mean to keep Joseph alive long enough to stake their claim. When they think Joseph has died en route to seeing his brother, they attempt to cover it up but they reckon without the complicating factor of Masterman’s apparent death, the intervention of Michael when he realises that Masterman has killed Joseph and the arrival of the Salvation Army led by Mrs Hackett (Irene Handl) who assume Masterman has attempted suicide in the Thames and return him to his home. Then there are questions about the whereabouts of the notorious Bournemouth Strangler …  One should always broaden one’s horizons. Adapted from the 1889 novel by Robert Louis Stevenson co-written with his stepson Lloyd Osbourne, the screenplay by Larry Gelbart and Burt Shevelove is a frequently hysterical and witty black comedy filled with incredible lines and boasting great performances – Peter Sellers has a marvellous couple of scenes as an aiurophile doctor, concluding with him blotting his signature using the bottom of a cute kitten called Mervyn. I specialise in rare marine diseases of the spleen. Mills and Richardson play the brothers to the hilt – an eccentric and a drag – Shut up, you pedantic boring old poop! It’s dotted with hilarious incidents including a chase involving horse-drawn hearses but the butler Peacock (Wilfrid Lawson, brilliant) has the best bits and Nanette Newman’s (Julia) romance with handsome Caine is choreographed to a gorgeous romantic theme composed by John Barry. Extremely funny with a superlative titles sequence – just watch what happens when Queen Victoria (Avis Bunnage) knights someone. Look out for Nicholas Parsons and Valentine Dyall among the first victims in a cast that represents most of the best comic performers of the era including Tony Hancock who turns up as a detective and that’s Juliet Mills as the cross-dressing Lesbian on a train. Directed by Bryan Forbes (in the third of his four films with Caine) and shot at Pinewood and in Bath with some very funny camera setups from cinematographer Gerry Turpin. Lawson sadly died aged 66 five months after this was released. He’s just extraordinary here and steals every scene he’s in. There are in certain parts of this city men – unscrupulous men! – who will perform unsavoury tasks

5 Flights Up (2014)

5 Flights Up

Aka Ruth & Alex; Life Itself. Who’d have thought that the whole of my life’s work is worth less than the room it was painted in? After forty years in the same building, ageing retired couple former teacher Ruth (Diane Keaton) and artist Alex Carver (Morgan Freeman) can’t manage the stairs very well any more so they put their Brooklyn apartment on the market using her realtor niece Lilly (Cynthia Nixon). As people pass through the property they think about what has happened there over the years and its significance to their relationship. When it looks like they have a viable offer, they visit a few places themselves and feel compelled to bid on one immediately; their dog Dorothy has to be taken to the veterinarian but Alex is initially reluctant to pay for the surgery she requires to repair a ruptured disc; a terrorist story in the area is unfolding on the TV … Do we really want someone like her living here? Adapted by Charlie Peters from Heroic Measures, a novel by Jill Ciment, Richard Loncraine directs two of the best actors of their generation sensitively and with a lot of humour so in spite of the ticking clock motif on the real estate deal this becomes a rumination on life, love, marriage and community and the stuff that really matters but it’s not exactly gentle. It touches on issues of race and society without making huge drama out of them:  the TV story about the alleged terrorist provides some opportune comments about prejudice. There are nice bits with the same people showing up at the different open houses so that mini-storylines run under the main narrative. It’s mellow entertainment with a resolution that isn’t terribly surprising but wraps things up satisfyingly. Maybe views are for younger people who still have things to look at

Veronika Voss (1982)

Veronika Voss

Aka Die Sehnsucht der Veronika Voss. Light and shadow; the two secrets of motion pictures. Munich 1955. Ageing Third Reich film star Veronika Voss (Rosel Zech) who is rumoured to have slept with Hitler’s Minister for Propaganda Josef Goebbels, becomes a drug addict at the mercy of corrupt Lesbian neurologist Marianne Katz (Annemarie Düringer), who keeps her supplied with morphine, draining her of her money. Veronika attends at the clinic where Katz cohabits with her lover and a black American GI (Günther Kaufmann) who is also a drug dealer. After meeting impressionable sports writer Robert Krohn (Hilmar Thate) in a nightclub, Veronika begins to dream of a return to the silver screen. As the couple’s relationship escalates in intensity and Krohn sees the possibility of a story, Veronika begins seriously planning her return to the cinema – only to realise how debilitated she has become through her drug habit as things don’t go according to plan … Artists are different from ordinary people. They are wrapped up in themselves, or simply forgetful. The prolific Rainer Werner Fassbinder’s penultimate film and one of his greatest, its predictive theme would have horrible resonance as he died just a few months after its release. Conceived as the third part of his economic trilogy including The Marriage of Maria Braun and Lola, this reworking of or homage to Sunset Blvd., whose ideas it broadly limns, has many of his usual tropes and characters and even features his sometime lover Kaufmann who could also be seen in Maria Braun; while Krohn tells his fellow journalist girlfriend Henriette (Cornelia Froboess) of his experience and potential scoop but Veronika’s hoped-for return is not what he anticipates with a Billy Wilder-like figure despairing of her problem. Its message about life in 1950s Germany is told through the style of movies themselves without offering the kind of escapist narratives Veronika seems to have acted in during her heyday.  She’ll be your downfall. There’s nothing you can do about it. She’ll destroy you, because she’s a pitiful creature. Fassbinder was hugely influenced not just by Douglas Sirk but Carl Dreyer and this story is also inspired by the tragic life of gifted actress Sybille Schmitz, who performed in Vampyr.  She died in 1955 in a suicide apparently facilitated by a corrupt Lesbian doctor.  The unusually characterful Zech is tremendous in the role. She would later play the lead in Percy Adlon’s Alaska-set Salmonberries as well as having a long career in TV. She died in 2011. It’s an extraordinary looking film with all the possibilities of cinematography deployed by Xaver Schwarzenberger to achieve a classical Hollywood effect for a story that has no redemption, no gain, no safety, no love.  Fassbinder himself appears briefly at the beginning of the film, seated behind Zech in a cinema. This is where movie dreams become a country’s nightmare. All that lustrous whiteness dazzles the eye and covers so much. Screenplay by Fassbinder with regular collaborators Peter Märtesheimer and Pea Fröhlich.  Let me tell you, it was a joy for me that someone should take care of me without knowing I’m Veronika Voss, and how famous I am. I felt like a human being again. A human being!

Another Woman (1988)

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She can’t allow herself to feel. The second wife of professor Ken (Ian Holm) with whom she had an adulterous affair while his wife Kathy (Betty Buckley) was suffering from ovarian cancer, when fiftysomething philosophy professor Marion Post (Gena Rowlands) rents an apartment to work on a new book, she soon realises that she can hear what’s going on in a neighbouring apartment, which houses a psychiatrist’s office. She becomes captivated by the sessions of a pregnant patient named Hope (Mia Farrow) whom she follows and eventually encounters in an antiques store. As Hope talks about her emotional issues over a long lunch, not only does Marion begin to reevaluate her life and recall the bullying her estranged brother Paul (Harris Yulin) was subjected to by their late father (David Ogden Stiers), she sees her husband lunching with their mutual friend Lydia (Blythe Danner) with whom he is clearly having an intimate relationship. She comes to realise that her coldness has shut her off from friends and family, and she has missed a chance for true love with writer Larry Lewis (Gene Hackman) who apparently made her the subject of his novel after she turned him down for Ken If someone had asked me when I reached my fifties to assess my life, I would have said that I had achieved a decent measure of fulfillment, both personally and professionally. Beyond that, I would say I don’t choose to delve. A remarkably perceptive work from Woody Allen on mid-life femininity and the things women have to do to protect themselves and their sense of self while also making men feel good about themselves. Fully belonging to that part of his oeuvre labelled Bergmanesque and not just because it’s shot by Sven Nykvist, this is sharp, funny, acidly realistic and gimlet-eyed when it comes to the inequality between the sexes:  while a husband plays at adultery (repeatedly), a woman tries to justify her very existence; a man celebrates his fifty years while a woman wonders what she has done with her life; an ex-wife shows up at the house with the detritus of their marriage to find herself socially condemned because she expresses her distress at betrayal. How Rowlands learns about her foibles through other people’s observations is psychologically devastating. The narrative is fearless and pointed in its target – structural misogyny. The peerless Rowlands is great in one of the best women’s roles of the Eighties and Farrow is no less good in a minor key, providing an oppositional image of possibility, with an ensemble of men having it all. I just don’t want to look up when I’m her age and find my life is empty

A New Leaf (1971)

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You have managed to keep alive traditions that were dead before you were born. A spoiled and self-absorbed playboy who has squandered his inheritance, Henry Graham (Walter Matthau) is ageing and desperate to find a way to maintain his lavish lifestyle. He approaches his disbelieving Uncle Harry (James Coco) who agrees to loan him some money but only on condition he marries within 6 weeks or he will take everything Henry has left in his name, ten times the loan amount. Henry sees an opportunity when he meets Henrietta Lowell (Elaine May), an awkward and bookish botanist and heiress whose greatest hope is to discover a new fern. Though Henry proposes marriage within three days of meeting, he has no intention of remaining with her and plans a sinister scheme. As he attempts to murder Henrietta, it may not be as easy as he had thought and he finds himself protecting her from her thieving household staff and caring about her appearance … I eat I sleep I swim I dry off.  I’m primitive! Writer/director Elaine May’s hilarious black comedy may have been re-cut by the studio (headed up by the legendary Robert Evans) against her wishes (losing two murders in the process) but Matthau preferred this version and it’s laugh out loud brilliant and humane, quite a combination. Matthau’s hangdog look perfectly encapsulates his desperate situation as the destitute playboy who against his killer instincts finds his inner decency; while May is a delight as the klutzy eccentric who knows more than she lets on. Coco is hideously funny as the rich uncle with the motorized pepper mill who has a metaphorical noose over Henry; while James Weston scores as Henrietta’s lawyer desperate not to lose his valuable client. Some of the best scenes are between Henry and his ‘gentlemen’s gentleman’ Harold (Jack Rose) who commences by suggesting suicide as an alternative to the awful embarrassment of public poverty when the cheques start to bounce; and then points out the ironic development that Henrietta’s helplessness has triggered Henry’s surprising financial acumen. Startlingly funny and rather cruel about men and women and a certain social niche, this has lost none of its edge or its warmth because it truly understands the vast compromises required by marriage and there are moments of inspired physical comedy.  Adapted by May from Jack Ritchie’s short story The Green Heart. I’m going to find a suitable woman and mur …. marry her!

September (1987)

September WA.jpg

I have no reason to get up tomorrow. Following a suicide attempt, Lane (Mia Farrow) retreats to her summerhouse in Vermont to rest but it’s not the peaceful haven it should be when her visitors disrupt the healing process and everyone present seems to be in love with the wrong person. Lane has difficulty dealing with her obnoxious tactless former actress mother Diane (Elaine Stritch), who is visiting with her stepfather Lloyd (Jack Warden). Lane lusts after struggling writer Peter (Sam Waterston) who is actually interested in her best friend Stephanie (Dianne Wiest) and a friendly neighbour, French teacher Howard (Denholm Elliott) carries a torch for Lane… It’s hell gettin’ older. Especially when you feel 21 inside. One of my fondest moviegoing memories is of watching this in a cinema on W. 57th Street NYC filled with the kind of people I was seeing onscreen – how better to view a Woody Allen film than surrounded by an audience that resembled the actors. I was among his people! It was irresistible and I spent most of my time people-watching, more engaged with the Allen-types, not the drama unspooling in front of me. Allen’s films at this point were apparently split between those aiming for a Fellini-esque feeling (Radio Days) or Bergman-esque interiority, like here, and Autumn Sonata is directly referenced in its plot, its central relationship and even costuming. Owing a lot to Chekhov’s Uncle Vanya, it’s a theatrical piece and Stritch makes a meal of her part as the attention-seeking star who wants someone to write a book about her against Lane’s wishes – because Lane supposedly shot her mother’s lover when she was a kid (just like Lana Turner’s daughter …).This was famously shot twice (kinda like the lover!) with Farrow’s own mother Maureen O’Sullivan in the role taken by Stritch, with Charles Durning in the great Jack Warden’s role and Christopher Walken AND Sam Shepard replaced by Waterston. Truly a film that is the sum of its parts, it somehow contrives to look better than it feels. Is there anything more terrifying than the destruction of the world?

Late Night (2019)

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Tread softly because you tread on my dreams. Talk show host Katherine Newbury (Emma Thompson) is the Queen of Late Night. Her world is turned upside down when she hires her first and only female staff writer Molly Patel (Mindy Kaling) because the head of the network Caroline Morton (Amy Ryan) is threatening to replace Katherine with a younger more provocative standup Daniel Tennant (Ike Barinholtz). Originally intended to smooth over diversity concerns because Molly ticks the boxes of gender and colour, and Katherine is determined to disprove her colleague Brad’s (Denis O’Hare) accusation that she’s a woman who hates women. Katherine’s decision brings about unexpected consequences as the two women separated by culture and generation become united by their love of a biting punchline despite the fact that Molly’s previous experience is Quality Controller in a chemical plant and they’re in a sea of unsympathetic men … Don’t take this the wrong way but your earnestness can be very hard to be around. Kaling wrote this with Thompson in mind and it shows:  she plays the heck out of it, a diva on the outs who hires and fires without breathing. It’s a setting that has yielded a lot of US comedy and it’s a smart satire with remarkable timing, in more ways than one: a battle of the sexes comedy set in the notorious boys’ club environment that is comedy (and the writers’ room) and it recognises that the system is longstanding and women have never been the beneficiaries and that’s okay because that’s fertile ground for discursive, subversive dramedy. Kaling turns this into something of a dramatic strut we might call Truth to Power as Thompson’s character is forced to defend the entire raison d’être of her career – in so doing she threatens to wreck her long marriage to her sick husband Walter (John Lithgow). Kaling’s own role is that of disrupter, although ironically it’s not as significant to the story as it might have been despite hitting the right millennial notes such as needing to make enough money to finally move out of home – think Devil Wears Prada with a race slant.  She incorporates just enough rom into this com to fit to genre expectations without untethering the narrative although it’s warm rather than vicious. Thompson and Kaling are fantastic as they try to navigate the problem of being mentor-mentee-friends-colleagues in a hostile workplace. Sharp stuff at times though, a sociocultural comedy that takes jabs at a slew of subjects including #MeToo, but with a gender twist. That’s what I call a punchline. Directed by Nisha Ganatra, who has worked with Kaling on TV’s The Mindy Project and a very good job she does too. You’re a writer, so write

Highlander (1986)

Highlander colour

There can be only one! Swordsman Connor MacLeod (Christopher Lambert) from the Scottish Highlands known as the Highlander is one of a number of immortal warriors who can be killed only by decapitation. After initial training by another highly skilled immortal swordsman and metallurgist, Ramirez (Sean Connery), MacLeod lives on for several centuries, eventually settling in New York City, managing an antiques shop. After watching his first wife Heather (Beatie Edney) grow old he is unable to fall in love again however in 1985, he encounters police forensic scientist Brenda Wyatt (Roxanne Hart). He also finds out that he must face his greatest enemy, the brutal barbarian Kurgan (Clancy Brown), who wants to kill MacLeod and obtain ‘the Prize’ – a special ability given to the last living immortal warrior: vast knowledge and the ability to enslave the entire human race. They play cat and mouse through the centuries until destiny arrives in a fight played out on NYC’s Silvercup Studios’ neon sign  … You won’t drown, you fool. You’re immortal! Music video director Russell Mulcahy made the transition to features with this deliriously nutty actioner, a time travel fantasy that seamlessly moves through the ages, imbued with the tropes of Arthurian myth, a beautiful woman handy in each of the three main centuries/locations, a supposedly Spanish-Egyptian Connery speaking in his usual cod accent, brilliant one-on-one combat and wonderfully cartoony car chases. Then there’s the odd impressive visual transition (Lambert’s face morphing into an NYC Mona Lisa mural); and a mini-pop video to soundtrack band Queen’s Who Wants to Live Forever telling the story of Lambert’s relationship with Scots wife Edney until her demise, in a film that references everything from Citizen Kane to The Duellists and Star Wars. There are incidental pleasures, like spotting familiar faces such as James Cosmo and Celia Imrie. Some head shearings plus a sex scene put this out of reach of the kids but it’s fabulous fun and spawned any number of sequels and spinoffs. Written by Gregory Widen as a class project at UCLA, this had a rewrite by Peter Bellwood & Larry Ferguson. You only have one life