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LFF 2016 Review: Ethel And Ernest

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Reviewer:  Freda Cooper

Director:  Roger Mainwood

Stars:  The voices of Jim Broadbent, Brenda Blethyn, Pam Ferris, Roger Allam, June Brown

Certificate: U

LFF screening 16th October 2016

Released 28th October 2016

 

The most British of animations had its world premiere today at the London Film Festival in the shape of Roger Mainwood’s ‘Ethel and Ernest’.

It comes from the eloquent pen of Raymond Briggs and it’s as personal as it gets – the story of his mum and dad.  And that’s pretty much it.  How they met when she was a ladies’ maid with aspirations and he was a milkman.  How son Raymond arrived, was evacuated to the countryside during World War II, while his parents lived through the London Blitz.  And how the lives of all three of them changed during the 60s and 70s, through to his parents’ respective deaths, both in the same year.   

It starts with Briggs himself although, if you don’t recognise him at first, you’re just watching an elderly man making himself a cup of tea.  Until he starts to draw his parents and the penny drops.  His voiceover observes wryly that Ethel and Ernest would probably have said he got their story wrong, but that’s what parents do.  It’s not his only gentle little dig at them, but the film is still a very affectionate portrait  of them through the eyes of their only child.  His mother’s social aspirations, her ignorance of the world around her and her use of “lovely” to describe anything and everything.  His father’s zest for life, generosity and devotion to his family, coupled with left wing ideals that his wife never really understood.

As the story of their relationship, it’s full of love and warmth in the old fashioned sense.  They were the proverbial devoted couple: sex is hardly ever mentioned and we see little more than a hug, kiss or holding hands.  Yet somehow they manage to produce a son.  They live in the same house throughout their marriage, complete with its little garden which, by the end, acquires a pear tree.  As Raymond says wistfully, “I grew that from a pip” and we actually see that little seedling sprouting in a pot when he’s a youngster.  There is a fourth member of the family, a black cat who adopts them in typical moggy fashion and loyally stays with them right to the very end.  After Ethel’s death, it touchingly drapes itself around Ernest’s shoulders and sleeps with him on the bed at night.

The film is also a piece of social history, showing the effects on World War II on civilians – air raids, doodlebugs, shelters in the garden – as well as post-war life, with the continuation of rationing, Raymond passing the 11-Plus and going to grammar school.  Other domestic minutiae tell their own stories, from the arrival of their first telephone and their first TV set, with its small, black and white picture and intermissions between programmes.  Linking it all together is Ernest exclaiming over the latest newspaper headlines: a touch clumsy given the delicacy of the drawing and the story but, in its context, credible enough.

The characters are voiced by stellar British talent, with Jim Broadbent and Brenda Blethyn leading the way: they’re perfect matches for the devoted couple and pull off the neat trick of almost imperceptibly aging their voices over time. Other familiar voices include June Brown as Ernest’s disreputable step-mother, Virginia McKenna as Ethel’s employer at the start of the film and Roger Allam as the doctor who helps deliver Raymond into the world.

So, to use Ethel’s favourite word, it’s a “lovely” film.  It’s released in cinemas at the end of this month but, in truth, it doesn’t really belong there.  Its intimacy demands a smaller screen: a large one creates an uncomfortable and unwanted distance between the audience and the story.  The Christmas TV schedules would be the ideal home but, if you can’t wait that long, a small cinema is the next best thing.

 

Freda's been a film fan all her life - the best qualification for the job! As well as being a Movie Marker regular, she has her own blog, Talking Pictures - https://fredacooper.wordpress.com/ - and a podcast of the same name - https://soundcloud.com/freda-14/talkingpictures6october2016. She can even be heard burbling on about films every Friday morning on BBC Surrey and Sussex!

Movie Reviews

LFF 2018 Review – Colette

Colette can feel a tad velvety at times but is lifted by Keira Knightley’s sensual performance and liberating battle that painfully resonates today.

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Director: Wash Westmoreland

Stars: Keira Knightley, Dominic West

Released: London Film Festival 2018

Born in 19th century France, Sidonie Gabrielle Colette wrote more than 80 volumes depicting her childhood, her life, her pains and pleasures. Her writings were sensual, vivid and all published under her husband name, “Willy”.

No stranger to female-centric stories, Wash Westmoreland follows up on “Still Alice” and “Echo Park, L.A.” with this dazzling period biopic starring Keira Knightley and Dominic West.

The film starts, the young country girl, Colette (Knightley), marries writer and critic Henri Gauthier-Villars (“Willy”) who introduces her to Parisian salons. Willy soon finds himself in debts and is desperate enough to seek his wife’s help. She will write. Colette writes what she knows and her first novella, “Claudine à l’école” (Claudine at school) is a success. Willy forces her to write the next ones, locked in a golden cage, to ensure his fame and success.

The settings are sumptuous and we gladly follow the camera through the stunning but confined Parisian apartments where the outside light only comes through when she feels inspired. Costumes evolve, as Colette, from heavy and restricted dresses to wild and daring clothing as if Mademoiselle Chanel had designed them herself.

Colette finally loosens from her husband and experiments with woman, society and dancing, feeding her inspiration. Forced and uncredited, Colette cannot enjoy writing and runs off to perform in the music-hall in her own name. In like most biopics, we go from one key event to another, regrettably quickly and often without knowing how we got there. Willy’s sudden appointment of his wife is left as unexplained as the abrupt ending that could have potentially seen Colette, a happy writer.

In the second part of the film Westmoreland seems more interested in looking at the awakening of a young woman rather than at the birth of an author whereas Keira Knightley shines in the lead role. Often known for playing the innocent and rebellious youth, Knightley still pulls off the young Colette in the first part of the film but is at her best when she evolves into a mature woman, aware of own desires. The best scenes of the film come when Colette is free and herself, usually in the company of other woman, particularly the terribly charming Missy (Denise Gough). Westmoreland multiplies two shots and close ups and creates impactful intimate scenes but regrettably gives up on them too fast.

It is a change to see a character such as “Willy” that is both ridiculous and loving. This duality creates, perhaps, a more truthful relationship between the two. No one is born an artist and behind every writer there is an intuitive editor (and in 20th century France, who else could it be than a man?). For Westmoreland if there is no Claudine without Colette, there would have been no Colette without Willy.

With its lavish setting and jumping plot, Colette can feel a tad velvety at times but is lifted by Keira Knightley’s sensual performance and liberating battle that painfully resonates today.

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Movie Reviews

LFF 2018 Review – If Beale Street Could Talk

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Released: 8th February 2019

Directed By: Barry Jenkins

Starring: Kiki Layne, Stephan James, Regina King, Colman Domingo, Teyonah Parris, Brian Tyree Henry

Reviewed By: Darryl Griffiths

In his entrancing and eventual Best Picture Oscar winner ‘Moonlight’, it was the longing to be authentic. To be accepted in an often volatile environment that powered its narrative.

Clearly in this pitch-perfect adaptation of the James Baldwin novel, director Barry Jenkins is consumed with longing of a different kind that is just as potent. Justice. An eradication of the infuriating systemic abuse of law and power against black people in America, that sees this luminous love story in 1970’s Harlem, strike modern-day parallels with our own divided, morally skewed society.

An incandescent portrayal of young romance. The tenderness, respect and sheer revolve that underpins the relationship between Tish (Kiki Layne) and Fonny (Stephan James) will leave you spellbound from the outset, as their lives are soon mired in despair. The rapturous joy of new life as Tish falls pregnant, backed up by the triple threat of mom Sharon (Regina King), dad Joseph (Colman Domingo) and sister Ernestine (Teyonah Parris). Quickly cancelled out by the malice of Fonny’s staunchly religious family and a false yet potentially devastating rape allegation made against him, as they scramble to prove his innocence.

Punctuated by Kiki Layne’s wholesome narration and an overwhelmingly beautiful Nicholas Brittell score that i would be content listening to for days on end. Jenkins exchanges the melancholic blues of his previous effort for a broader but no less lush visual palette, with its exquisite interiors and classy costume design almost serving as a rainbow for the tears that have streamed down their faces through such hardship, but their spirit and love continues to illuminate their gritty surroundings. Whether it be lingering close-ups of sweet embrace or deep sorrow. Its director doesn’t flinch for a second in conveying the simmering emotions on display and in doing so, leaves you completely transfixed by his tactful approach to the source material.

There is a raw resilient energy that permeates throughout its central romance. Kiki Layne’s Tish serves as the remarkably understated, calming influence to Stephan James’ broken-hearted prisoner, a slave to a corrupt system with a searing monologue by Fonny’s dear friend Daniel (Brian Tyree Henry) reinforcing the pain inflicted. Through it all, their hopeful adoring looks and stifling intimacy simply captivate. In Regina King’s marvellous mother figure, she peppers the film with considerable candour, armed with dialogue that pierces your soul. Whilst Jenkins leaves enough room for inspired cameos that are best left a secret, which gorgeously represent a sense of community and a progression in attitude, that defies the period.

A steady panning shot as Fonny smokes may seem throwaway. In this case, it is awfully fitting to articulate the finesse of its director. Lose yourself in the mesmeric haze of ‘If Beale Street Could Talk’.

A lyrical experience that reminds you of the poetic power cinema can truly possess. His love for the art form brought him here. On this form. Trust Barry Jenkins to go all the way.

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LFF 2018 Review – Stan & Ollie

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Released: 11th January 2019

Directed By: Jon S Baird

Starring: Steve Coogan, John C.Reilly, Shirley Henderson, Nina Arianda

Reviewed By: Darryl Griffiths

Products of classic Hollywood whose superior slapstick routines triggered endless laughter from their legion of fans, propelling them to legendary status. The sheer physicality and comedic prowess displayed by the English/American duo of Stan Laurel and Oliver Hardy, still puts many modern-day efforts to shame.

But like so many comedians, there is a tragic element to their careers that contradicts their profession. Through this solid biopic by Filth director Jon S. Baird, it looks to give us a poignant insight into the duo’s grueling twilight years.

Their popularity slowly dwindling. Their bones creaking. Whether on the big screen or the stage, Laurel (Steve Coogan) and Hardy (John C.Reilly) are suddenly not the hottest ticket in town in the early 1950’s. Lumbered with Rufus Jones’ Bernard Delfont, a wisecracking promoter who seems more invested in the likes of Norman Wisdom, they look to reignite interest with a lengthy theatre tour and a long-gestating film project. Yet with audiences middling, contract negotiations stalling and the workload far beyond what was expected, it puts a significant strain on the health and friendship of these two towering talents.

Inevitably with its story, you would expect ‘Stan & Ollie’ to be assured in its abilities to make you laugh. However much of the first half feels surprisingly stilted as Coogan and C.Reilly throw themselves into the pair’s much-beloved routines, with regular cutbacks to their adoring audiences. For the uninitiated, it may initially make you wonder what the fuss was about. Thankfully as the film’s supporting players are introduced to spar with our central characters, it finds a more consistent comedic rhythm, neatly intertwining with the film’s simmering emotion.

Whilst it’s undoubtedly a few visual flourishes away from being a formulaic BBC Christmas special. The admiration of S.Baird for Laurel & Hardy certainly shines through in its refined production, beginning with an exquisite tracking shot on a studio lot as he works his way through the duo’s masterful mischief with fondness.

The rapport between John C.Reilly and Steve Coogan anchors proceedings wonderfully, skilfully capturing the mannerisms and effectively articulating how dependent they are of each other, despite their ongoing disputes. In C.Reilly’s Ollie, his fully-fleshed turn pierces through the fat suit he wears, whose willingness to perform despite failing health is soul-stirring. Whilst the relentless nature of Coogan’s Stan, as he looks to churn out the material strong enough to breathe new life into their double act, makes for compelling viewing. The real danger posed however, is that the film’s main attraction are nearly upstaged by their witty wives, with Shirley Henderson’s Lucille and Nina Arianda’s Ida threatening to steal every scene they grace.

Entertaining enough to gently applaud. Yet perhaps not an act that quite raises the roof. ‘Stan and Ollie’ coasts by on its endearing nostalgic charm and committed performances.

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