Mr. Turner

Written and directed by Mike Leigh, Mr. Turner is the story about the life and career of British painter J. M. W. Turner who was considered one of the most radical painters of the 19th Century. Told in an unconventional fashion, the film explores Turner’s work as a painter and what drives his art as he is played by Timothy Spall. Also starring Lesley Manville, Dorothy Atkinson, Paul Jesson, Marion Bailey, and Martin Savage. Mr. Turner is an astonishing yet captivating film from Mike Leigh.

Set in 19th Century Britain, the film is the story of one of Britain’s most revolutionary and daring painters of the century’s first half who created images that didn’t play by convention but rather look at a landscape or the see as it is. Yet, it is told from the prime of his life where he is getting recognition as an artist to his death in 1851 where he creates paintings through watercolor and evocative images of skies and the sea with colors that were considered to be innovative. The film also showed that Turner was a man who was also very polarizing during his time where some thought he was mad for the works he did while there are some who thought he was a genius. At the same time, the film portrayed Turner as a man who lived by his own rules despite the fact that he often neglects his maid who is in love with him while he would fall for a twice-widowed landlady whom he would later marry.

The film’s screenplay does play into a rise and fall scenario as its first act is about Turner’s rise through the British art world despite some reservations for some on his work. The second act is about that continuation but also show Turner deal with criticism as he finds solace in her personal life despite some trouble which involves the daughters he has but neglects as well as his maid. It plays into a man who lives in a very unconventional fashion in his lifestyle which alienates some but others are fascinated by it. Especially in his approach to painting and how he wants to see things which definitely arise those with strong opinions to see if his art is any good or not. By the film’s third act, it is about not just the dismissive opinion towards his painting from those in society including royalty but also Turner dealing with his failing health. Notably as he also copes with the changes that goes on in the world of art where his paintings are seen as either passé or just too radical for the British public.

Mike Leigh’s direction is very intoxicating in not just the way he presents the world of 19th Century Britain where it would transition during the age of the Industrial Revolution with trains and factories. It’s also in the fact that some of the images he would create are attempts to visualize Turner’s paintings where some of it looked like real paintings. Shot in various locations in Britain, Leigh does create something that is quintessentially British in its look and atmosphere while much of the dialogue and language has a looseness where the actors are able to improvise and say things as if it felt natural to those times. Even as Leigh wanted to deviate from the convention of traditional bio-pics where he uses the setting to do something that feels real as he is known for never using a script to guide him.

Leigh’s approach to framing with some unique wide and medium shots do carry a sense of atmosphere in some of the locations including the painting galleries where people of royalty would gaze into them. Much of it involves some slow yet gazing camera movements along with scenes of Turner creating his paintings as Leigh does approach many of his compositions as if it was a painting by Turner but with people and things rather than the landscapes themselves. Even as some of Leigh’s close-ups use to play into the world that Turner is in and how some suffer from it or those who are enriched by his presence. It all plays into the fact that Turner cares about his work and the land he is from no matter what a bunch of snobbish critics, people of society, or royalty think of them as he made his work for Great Britain. Overall, Leigh creates a sensational and exhilarating film about one of Britain’s great painters.

Cinematographer Dick Pope does incredible work with the film‘s cinematography with its rich usage of colors to play into some of the film‘s lighting schemes as well as maintain some rich colors in some of the film‘s interior settings as it is a major highlight of the film. Editor Jon Gregory does excellent work with the editing as it‘s mostly straightforward to play into Turner‘s approach to painting while there‘s some rhythmic cuts and montages for a few moments in the film. Production designer Suzie Davies, with set decorator Charlotte Watts and art director Dan Taylor, does amazing work with the look of Turner‘s studio and the art galleries where many of Britain‘s painters post their paintings for the royals to see. Costume designer Jacqueline Durran does fantastic work with the costumes to create the look of the clothes the men and women wore including the ragged clothes that Turner wears.

Hair/makeup designer Christine Blundell does brilliant work with the hairstyles of the women as well as some of the facial hair and hairstyle of the men. Visual effects supervisor George Zwier does nice work with some of the film‘s visual effects as it is very minimal for a few scenes set in skylines and for some big ships. Sound editor Lee Herrick and sound designer Robert Ireland do superb work with the sound to create something that is sparse but also naturalistic in the sound work while going for something big in a few scenes set in the sea. The film’s music by Gary Yershon is marvelous for its orchestral-based score that ranges from themes with soaring and lush string arrangements to more somber pieces as it plays into the many moods that Turner endures in his life.

The casting by Nina Gold is phenomenal as it features small yet notable appearances from Leo Bill as the famed photographer J.E. Mayall, Peter Wight as the famed art patron Joseph Gillot, Sinead Matthews as Queen Victoria, Tom Wlaschiha as Prince Albert, Karina Fernandez as a singer Turner befriends at a gathering, David Horovitch as Turner’s physician Dr. Price, Joshua McGuire as the pretentious art critic John Ruskin, Sandy Foster and Amy Dawson as two of Turner’s adult daughters in their respective roles as Evalina and Georgiana, and Fenella Woolgar as art critic Elizabeth Eastlake. Other noteworthy small roles as such famous British painters include James Fleet as John Constable, Richard Bremmer as George Jones, Jamie Thomas King as David Roberts, Mark Stanley as Clarkson Frederick Stanfield, Simon Chandler as Augustus Wall Callcott, and Roger Ashton-Griffiths as Henry Williams Pickersgill.

Ruth Sheen is terrific as Sarah Danby as a former lover of Turner who is the mother of his two daughters as she despises Turner for not being there enough for his girls. Martin Savage is fantastic as Turner’s friend Haydon who is also a painter but one who struggles to succeed in the world of art as he would also owe many including Turner money. Lesley Manville is superb as the scientist Mary Somerville who would show Turner some unique insight into the world of light and science that would inspire his work. Paul Jesson is excellent as Turner’s father William who is a big supporter of his son as he does whatever to help him despite his ailing health.

Marion Bailey is amazing as Sophia Booth as a landlady who lets Turner stay with her under an alias as she later becomes his lover while learning about his true identity and his work where she would give him a life outside of that world. Dorothy Atkinson is brilliant as Turner’s maid Hannah Danby as a woman who is in love with Turner but feels neglected and exploited sexually for Turner’s own desires as she later copes with his growing absences at home. Finally, there’s Timothy Spall in a magnificent performance as J.M.W. Turner as this very brilliant but troubled artist who lives under his own rules as he is also very radical in who he is as a person and as an artist while trying to deal with the world around as well as those he feel don’t understand his work as it’s a really Spall at his best.

Mr. Turner is an outstanding film from Mike Leigh that features an incredible performance from Timothy Spall as the titular character. Armed with a great ensemble cast as well as top-notch technical work, the film isn’t just a very provocative look into one of Great Britain’s great painters but also into the world of art. Especially in the way art was viewed in those times and how Turner was someone that was considered too daring in a world that was confined by old rules. In the end, Mr. Turner is a spectacular film from Mike Leigh.

Mike Leigh Films: (Bleak Moments) - (Hard Labour) - (The Permissive Society) - (Nuts in May) - (Abigail’s Party) - (Kiss of Death) - (Who’s Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets and Lies - Career Girls - Topsy-Turvy - All or Nothing - Vera Drake - Happy Go Lucky - Another Year

© thevoid99 2015

All or Nothing

Written and directed by Mike Leigh, All or Nothing tells the story of three families living in working-class London as they each deal with the changes in their lives. Along the way, they all intersect to discuss their own lives and the messiness that is around them. Starring Timothy Spall, Lesley Manville, James Corden, Alison Garland, Ruth Sheen, Sally Hawkins, and Daniel Mays. All or Nothing is a good although extremely dreary film from Mike Leigh.

Phil Basset (Timothy Spall) is a miserable cab driver who works on long hours day and night as a cab driver for a company run by Neville (Gary McDonald). His friend Ron (Paul Jesson) also works in the same company but always manages to get into some accident that leaves him ailing for money. Phil and Ron’s family life are messy as they each deal with their own world. Phil’s wife Penny (Lesley Manville) works as a supermarket cashier with friend/neighbor Maureen (Ruth Sheen) whose daughter Donna (Helen Coker) is in an abusive relationship with her boyfriend Jason (Daniel Mays). Penny’s daughter Rachel (Alison Garland) works at nursing home while her younger brother Rory (James Corden) is an angry, obese teenager who refuses to do anything.

Ron’s wife Carol (Marion Bailey) is an alcoholic always intoxicated while their daughter Samantha (Sally Hawkins) is a slacker trying to find work while dealing with a creepy stalker (Ben Crompton) near her apartment. Everyone works as they all try to deal with their day-to-day lives as Donna learns she’s pregnant making Jason very upset. When Maureen learns what happens, she tries to sort things out while Rachel is being flirted by an old man (Sam Kelly). On another typical day when Phil is working as he has a French woman (Kathryn Hunter) as a passenger. Phil has a realization about his life leaving him to shut off his phone and just drive somewhere. Yet, the timing turns out to be bad when a family emergency brings everyone together.

The film is about a trio of dysfunctional families living their lives in London as they all live in the same apartment building interacting with one another and go on with their lives. They all try to help each other while some are going through the motions of working and doing things when they work with the exception a few people who don’t really do anything. Yet, they’re all pretty miserable as the main focus is on the Basset family where there’s a couple whose marriage is pretty much on the outs which affects the family. The other two stories about a mother and her pregnant daughter and the other family who are an absolute mess help balance out the rest of the film.

Leigh’s story has the same kind of improvisational yet free-flowing feel that is common with all of his films since he doesn’t really use a script to tell the story. The problem with this film is that there’s not much to tell as the first act starts off very slow and almost becomes a bit repetitive though it seems like that is what Leigh is aiming for. At the same time, because everyone looks like a mess with the exception of a couple of scenes where one of them has Maureen and Penny go out to a club looking pretty clean and normal though Carol remains a mess. Throughout the story, there’s a lot of scenes where Phil drives his cab and deals with an array of passengers and comes home where Penny doesn’t seem to enjoy him around. For Phil, feeling unloved and unhappy would cause him to drift from everything but at the wrong time in the film’s climatic moment.

Leigh’s direction is pretty good as he keeps things straight in his direction. Yet, there’s a lack of style that happens throughout with the exception of a few scenes. Leigh is always creating something that is engaging about the way a family has dinner together or having a moment together. There is something that is compelling in what he tries to create though it starts off very slow where nothing is happening and it ends up becoming very depressing. Things do pick up in the film’s climatic moment that includes a very emotional scene in the realization about a family’s life. While the ending is a bit cheerful, it does feel a bit unresolved as far as the two other families are concerned though it’s open for interpretation about what could happen. Overall, Leigh creates something that is intriguing but lacks a lot of weight to keep things going.

Cinematographer Dick Pope does an excellent job with the photography in capturing the nighttime setting of London with a very gorgeous look while most of the film, with the exception of a scene at the beach, is very straightforward. Editor Lesley Walker does a good job with the editing as she maintains a mostly straight approach to the cutting while using fade-outs for the transitions to keep things movie.

Production designer Eve Stewart and art director Tom Read do fine work with the look of the film from the dreary apartments everyone lives in to the old folks home that Rachel works at. Costume designer Jacqueline Durran does nice work with the costumes by maintaining a mostly casual look that is very grimy while the clothes that Maureen wear the karaoke scene is pretty stylish. Sound editor Peter Joly doe some stellar work in capturing the sound for the various locations throughout the film including the chaos of the London streets. The film’s score by Andrew Dickson is pretty good for a lot of the smooth, orchestral pieces played in the film that adds a sense of melancholia throughout. Yet, it also becomes a bit aggravating as it’s always played in between many of the film’s transitions.

The casting by Nina Gold is really the highlight of the film as it includes some standout small performances from Diveen Henry as Neville’s sister, Gary McDonald as the cab service boss Neville, Kathryn Hunter as a French passenger, Sam Kelly as the old man that flirts with Rachel, Robert Wilfort as a doctor, and Ben Crompton as the creepy Craig. Other notable performances include Daniel Mays as the very abusive Jason, Marion Bailey as the often-intoxicated Maureen, and Paul Jesson as the frustrated Ron. Helen Coker is very good as the troubled yet abused Donna while Sally Hawkins is extraordinary as the sexy though lonely Samantha. Ruth Sheen is superb as Maureen, Donna’s mother who tries to help her daughter out while proving to be a tough, no-holds-barred woman who can get things in control and deal with Jason.

James Corden is excellent as Rory, an obese teenager who often spouts insults at his mother as he lazes around in the couch and smoke cigarettes only to finally get into some trouble. Alison Garland is brilliant as Rachel, a quiet young woman who works at a nursing home as she tries to keep things organized while being the one who watches her parents’ marriage break apart. Timothy Spall is great as Phil, a depressed cab driver who tries to cope with everything around him as Spall has a very dirty look where he is unshaven and hasn’t washed his hair. Finally, there’s Lesley Manville in a radiant role as Penny. A woman who tries to help out though she is unaware that she seems to be not really helping as she gives what is truly a heartbreaking performance.

All or Nothing is a decent though grim film from Mike Leigh despite an intriguing premise and a superb cast. While it’s a film that has a lot of Leigh’s unconventional storytelling ideas and intriguing study of characters and situations. It’s a film that doesn’t have much weight as it starts off very slow and tedious for about the first half only to pick up in the second half. It’s a film that isn’t among his greats like Naked, Secrets & Lies, and the films he made after this. Yet, it is still a compelling piece as All or Nothing is a film with some good moments that could only come from someone as revered as Mike Leigh.

Mike Leigh Films: (Bleak Moments) - (The Permissive Society) - (Knock for Knock) - (Hard Labour) - (Nuts in May) - (Abigail’s Party) - (Kiss of Death) - (Who’s Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets & Lies - Career Girls - Topsy-Turvy - Vera Drake - Happy-Go-Lucky - Another Year - Mr. Turner

© thevoid99 2011

Another Year

2008’s Happy-Go-Lucky was a surprise hit with audiences and critics as its writer/director Mike Leigh scored another hit film while giving its star Sally Hawkins a true breakout role. The film was also surprising for fans of Leigh as it was his most optimistic and upbeat film of his career. Sadly, it would be Leigh’s last film with longtime producer Simon Channing-Williams who died at age 63 in 2009 after a long battle with cancer. Leigh paid tribute to his late colleague and friend as he moved forward with a project about life in general with Another Year.

Written and directed by Mike Leigh, Another Year tells the story of a married couple whose blissful life is mired by the unhappiness around their friends as they help them out. Featuring many of Leigh’s improvisational style and exploration of all of the quirks about life. It’s a film that dabbles into many themes while finding some sort of solution about the way the world works. With an all-star cast that includes such Leigh regulars as Lesley Manville, Jim Broadbent, Ruth Sheen, Peter Wight, Philip Davis, and Imelda Staunton plus appearances from David Bradley and Oliver Maltman. Another Year is a charming yet touching film from Mike Leigh.

It’s springtime as Geri (Ruth Sheen) is helping a woman named Janet (Imelda Staunton) deal with her insomnia. Geri is a counselor who works with a doctor named Tanya (Michele Austin) and a secretary named Mary (Lesley Manville). Geri’s been happily married to Tom (Jim Broadbent) who works as a geologist. Whenever they’re not working or at home, Tom and Geri do a lot of time tending to their large garden filled their own fruits and vegetables. Mary often hangs out with Tom and Geri as she is looking for love while would get herself drunk every once in a while pondering about her lack of a strong love life.

While Ruth and Geri often invite Mary to their world, they also get visits from their son Joe (Oliver Maltman) who is also trying to find love as he often helps out with their garden. It’s summertime as a friend named Ken (Peter Wight) visits who is despondent over his age and other issues as he hangs out with Tom and Geri. A barbeque party is held with Ken, Mary, Tanya, Joe, and another friend named Jack (Philip Davis) as they’re all having fun while Tanya unveils her new baby boy. During the party, Mary reveals that she bought a new car as she also flirts with Joe as she asks they would meet again for a drink.

It’s autumn as Joe makes a surprise visit to see his parents as he unveils a new girlfriend named Katie (Karina Fernandez) where they all have lunch and dinner. During the dinner, Mary arrives to hang out with Tom and Geri only to learn about Katie. The dinner goes smooth but leaves Mary upset as she would later make another visit in the winter. Tom, Geri, and Joe however, go to meet Tom’s brother Ronnie (David Bradley) for some devastating family news that is worsened by the visit of Ronnie’s son Carl (Martin Savage). Mary’s visit to Tom and Geri’s home has her realizing how much trouble she is though it’s just another moment for Tom and Geri.

The film is about a couple who help out their friends and family in the time of need through the span of four seasons. Yet, the one friend who is in constant need of help is a woman named Mary, a 40ish secretary who likes to drink, have fun, and wear youthful clothes in order to be loved. Yet her character goes through the most changes throughout the year as she becomes more desperate and fragile. Through it all, it’s Tom and Geri that provide safety and love not just to her but to the people involved.

It’s really a film about good people who are there for those in need of comfort. Notably in the winter section when Tom and Geri with Joe visit Ronnie who is need of comfort. Though Ronnie doesn’t speak very much over what he had just been through, it is Tom and Geri that offer him a place to stay for a while. When their friend Ken is going through tough times, Tom takes him out to play golf with Joe and Jack just to cheer him up. Mike Leigh’s approach to the story is definitely well-structured in four parts as he gets the chance to create mood changes for each season. Even in creating characters that are lively and interesting to watch.

Leigh’s direction is definitely marvelous to watch in the way he creates a mood for each season. While its mostly straightforward, Leigh’s still yet moody compositions remains intoxicating to watch. Even as it has an air of theatricality in the way he shoots actors from where they’re standing to creating wonderful close-ups that explores the mood of the characters. Leigh underplays the drama while opening the film with a bitter woman wanting sleeping pills so she can sleep. While it’s mostly a dramatic, melancholic film, Leigh allows lots of humor into the mix so that the audience can get to know the characters and maybe want to hang out with them. The overall result in Leigh’s work is proof that is one of Britain’s great living directors working today.

Leigh’s longtime cinematographer Dick Pope does a wonderful job with the different array of color schemes for the film’s seasons. With the more colorful, brighter look of the spring and summer for the first half of the film including dabbles of rain. Pope also uses darker palettes for the autumn and winter scenes in the second half as it helps plays to the film’s emotional tone. Pope’s work is superb as it is definitely one of the film’s technical highlights.

Editor Jon Gregory does an excellent job with the film’s editing in presenting the film with a straightforward approach while adding bits of style to maintain a nice rhythm to the film. Even in letting each season fade to black to end and open the next season. Production designer Simon Beresford, along with set decorator Sophia Chowdhury and art director Andrew Rothschild, do a very good job with the film‘s set design from the comfortable home that Tom and Geri lives in to the tiny, decayed shack that they sit in at their large garden. Costume designer Jacqueline Durran also does a very good job with the film‘s costumes from the hippie-like clothes that Geri wears to the more casual stuff everyone else wears while the character of Mary wears clothes that represents her longing to be youthful.

Sound recordist Tim Fraser and sound editor Nigel Stone do some fine work in the sound work by capturing natural sounds to convey the energy and feel of the scene along with some crazier scenes involving traffic and trains. Music composer Gary Yershon brings a lovely yet plaintive score that plays to the film’s melancholia played with a harp as it helps introduce a new season or to play up to the dramatic elements of the film.

Casting director Nina Gold does a superb job in assembling a great cast for the film as part of what makes Mike Leigh’s films so fascinating is in the casting. Appearances from Leigh regulars such as Philip Davis as Jack, Michele Austin as Tanya, Martin Savage as Carl, and Imelda Staunton in a small but memorable appearance as Janet, an insomniac in the opening scene of the film. Other notable appearances include David Bradley as Tom’s laconic yet shell-shocked brother Ronnie and Karina Fernandez as Joe’s new, upbeat girlfriend Katie. Peter Wight is excellent as Ken, an old friend of Tom who has fallen on hard times as he seeks comfort in his friends while he carries a torch for Mary. Oliver Maltman is very good as Joe, Tom and Geri’s son who is there for his parents while trying to find love as well. Maltman’s performance is fun to watch as an adult-son who has all of the good qualities that he’s inherited from his parents.

Ruth Sheen is great as Geri, a no-nonsense but caring woman whose job is to help people sort out their situations. Even as she possesses a maternal warmth that people needed as she provides whatever they need for comfort as Sheen’s performance is marvelous. Jim Broadbent is phenomenal as Tom, a kind-hearted man with an eccentric behavior who also provides the things his friends need. Broadbent’s whimsical yet charming performance is one of the most uplifting and witty performances he has done as it proves why he’s one of the great actors working today.

Finally, there’s Lesley Manville in an amazing performance as Mary. A lovely but fragile woman desperate to find love as she drinks her sorrows while hoping to nab the much younger Joe. Manville’s performance is wonderful to watch as she starts out as this vibrant though flakey woman who often forgets things. To then descend into someone really desperate as Manville doesn’t overplay the drama by remaining still as she allows her character to gain sympathy for who she is. It’s definitely one of the best performances of 2010 as Manville’s work is just startling to watch.

Another Year is a wonderful yet mesmerizing film from Mike Leigh and company. Led by an amazing ensemble cast including Lesley Manville, Jim Broadbent, and Ruth Sheen. It’s a film that fans of Mike Leigh will enjoy about all of the ups and downs of life. Fans of great yet unconventional dramas will find something surprisingly uplifting in a melancholic film that reveals the goodness of people and why its important to have friends. It’s also another amazing film from Mike Leigh who adds another great film to his amazing filmography. In the end, Another Year is a superb yet engrossing film from the great Mike Leigh.

Mike Leigh Films: (Bleak Moments) - (Hard Labour) (The Permissive Society) - (Knock for Knock) - (Nuts in May) - (Abigail’s Party) - (Kiss of Death) - (Who’s Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets & Lies - Career Girls - Topsy-Turvy - All or Nothing - Vera Drake - Happy-Go-Lucky - Mr. Turner

© thevoid99 2011

Vera Drake

Originally Written and Posted at Epinions.com on 9/29/09.

2002's All or Nothing about working class families drew excellent reviews with most critics and audiences but some felt that the film's writer/director Mike Leigh created a film that was too depressing. Despite the criticism towards the film, Leigh moved ahead to another project that would be set in the 1950s about a woman performing illegal abortions for working class women as she would find herself getting in trouble with the law. The film would ultimately be one of Leigh's finest films entitled Vera Drake.

Written and directed by Mike Leigh, Vera Drake tells the story of a woman from a working class family who performs illegal abortions for women around her working class neighborhood. When something goes wrong, she is caught as she is questioned about doing the right thing. Playing the title role is Imelda Staunton, then a renowned and acclaimed supporting/character actress, in a rare leading role that would bring her much attention and acclaim. Also starring Phillip Davis, Ruth Sheen, Daniel Mays, Alex Kelly, Eddie Marsan, Sally Hawkins, and Jim Broadbent. Vera Drake is a harrowing yet powerful period-drama from Mike Leigh and company.

It's 1950 as Vera Drake works cleaning houses for the upper class while her husband Stan (Phillip Davis) works at an auto shop with his brother Frank (Adrian Scarborough). Vera and Stan's children also work as their son Sid (Daniel Mays) works for a tailor selling suits while Ethel (Alex Kelly) works at a factory. The family maintains a close bond as Vera also keeps track of the people she help out like George (Richard Graham) who is ill while inviting a young name Reg (Eddie Marsan) to dinner. The dinner turns out well as Reg and the shy Ethel start to date. What the family doesn't know is that the good-hearted Vera also helps young women in performing illegal abortions though she doesn't call them abortions.

Helping Vera out in giving assignments is her friend Lily (Ruth Sheen) as she takes payment from young women without telling Vera. Instead, she gives Vera things like sugar and such for a small fee. While Vera performs illegal abortions to working-class women, a young rich girl named Sarah (Sally Hawkins) was raped as she turns to a friend for help. Sarah talks to a psychiatrist (Allan Corunder) for help where she gets a private abortion that is performed. When Vera performs an abortion for a young woman (Liz White), the woman later becomes ill as her mother (Lesley Sharp) is forced to reveal secrets. The Drake family including Frank's wife Joyce (Heather Craney) decide to make a family celebration, an investigator (Peter Wight) appears to ask questions about Vera as she knows what it is about.

The film can be described as a drama about a woman who believes she does good thing and at heart, she is a good person. She helps out people and doesn't ask much in return. Whether it's her mother (Sandra Voe), a neighbor, or anyone. Even the rich people she works for seem gracious to her. Yet, she has a secret which is horrifying but she takes it in stride and maintains an upbeat persona. When she is caught, her world is shattered as well as the close bond of her family. Yet, the film is a character study of a woman who believes she is doing good things though what she is doing is wrong. At the same time, there's a little subplot about how rich women deal with abortions.

Mike Leigh's screenplay (or lack thereof) definitely reveals how abortions were performed and what working-class women had to do in order to get abortions performed along with insight of what rich women do. The script also goes into detail of the strong family bond and how they support each other where each character is given a chance for the audience to know about them. The film starts off in an upbeat tone throughout its first two acts but then comes this harrowing third act that shatters the upbeat tone of the film as it becomes devastating. Then comes this debate about the act of illegal abortions of whether what Vera did was right or wrong. Yet, the focus is more on her family and how they have to deal with it.

Leigh's direction is truly fascinating in terms of its dramatic staging, setting up a tone, and putting in a subplot without taking focus away from the film's subject and protagonist. Even in scenes where he creates simple shots for certain locations where there's a simplicity to his presentation. It's intimate, theatrical, yet engaging in what Leigh is doing with the camera and scenery. The dramatic tension of the film in the third act is presented with subtlety but also a heaviness that is expected but in a visceral way. The overall approach of Leigh's direction and how he presented each scene whether it's a moment of humor or a dramatic moment. He creates a film that is truly powerful while taking on a subject matter about abortion without taking on either sides.

Leigh's longtime cinematographer Dick Pope does brilliant work with the film's cinematography with low colors to help represent the dreary look of early 1950s England. With exteriors filled with light blue, gray, dark green colors depending on the tone of the scene and what's happening. Pope's work in the interior scenes is exquisite with a slew of colors for whatever scene that's happening. Whether its lighter colors for the posh scenes or the dark yet cheerful tone for the home of the Drake family. Pope's camera work is truly phenomenal in creating an atmosphere for the film and its period setting.

Editor Jim Clark does excellent work with the editing, notably in the rhythm of the dramatic tension and scenes involving objects. Clark's methodical pacing for the film works very well in terms of its structuring as well as setting a tone for what will happen in the third act. Production designer Eve Stewart with set decorator John Bush and art directors Andrew Grant and Ed Walsh do fantastic work with the design of the homes and places that Vera goes to from the posh homes that she works for to the home that she lives. Yet, the places in the film also play to the different class structure as Vera's sister-in-law lives in a middle class suburb with her husband as the art direction overall is brilliant. Costume designer Jacqueline Durran does exquisite work with the costume design in creating nice period clothing for all the actors and actresses involved including the green coat that Vera wears to the rich clothing that Sarah and her peers wear.

Sound editor Nigel Stone and recordist Tim Fraser do very good work with the sound, notably the atmosphere of 1950s London in its exteriors plus the harrowing sounds of the police station and courtroom scenes in the third act. Music composer Andrew Dickson creates a plaintive yet heavy score with orchestral arrangements that plays to the myriad of emotions that goes on in the film without being overdrawn or underplaying the scene. Dickson's score is excellent in its subtlety as it is one of the film's technical highlights.

The casting by Nina Gold is superb as it features cameos from some of Leigh's repertoire of regulars including Allan Corunder as a psychiatrist, Leslie Manville as Susan's mother, Lesley Sharp as the mother of a young woman who got ill from an abortion, and Jim Broadbent as a judge. In the roles of the women who get abortions from Vera are Sinead Matthews, Tilly Vosburgh, Vinette Robinson, and Liz White as the woman who gets sick. Other notable small roles include Nicholas Jones as a defense attorney, Paul Jesson as a magistrate, Martin Savage as a detective, Richard Graham as a sick neighbor of Vera, and Sandra Voe as Vera's mother. Peter Wight is excellent as a sympathetic investigator while Heather Craney is very good as Vera's sister-in-law who would become indifferent to her after what happened.

Alex Kelly is very good as Vera's shy daughter Ethel while Daniel Mays is great as Vera's son Sid as they both try to come to terms with what happened. Eddie Marsan is really good as Reg, a neighbor who becomes Ethel's new boyfriend as he manages to have a great moment through simple dialogue in a key scene in the third act. Sally Hawkins is also good as Sarah, a young rich woman who gets raped as she tries to get an abortion through her own world. Ruth Sheen is excellent as Lily, Vera's friend who makes money off of the illegal abortions while making rules of what to do while being a generous friend to Vera. Adrian Scarborough is really good as Frank, Stan's brother who has a loyalty to Vera as she helped him grow up through the years. Phillip Davis is superb as Stan, Vera's loving husband who is devoted to her. Even as he discovers her secret while having a say about what the family should do in the midst of all that has happened.

Finally, there's Imelda Staunton in what is truly a radiant performance for the veteran British actress in the title role. Staunton's cheerful, winning smile in the film's first two acts is filled with a joyful presence while making her likeable enough despite what she's doing illegally. At the same time, there's a sense of warmth that is comforting to watch until when she is caught. She loses all of that and she becomes this fragile being forced to lose things including herself. Yet, Staunton remains a powerful presence as she remains quiet and maintaining her dignity despite her attempts to overcome her emotions. It's truly a mesmerizing performance for the British actress.

Released in the fall of 2004, the film was a major hit at the Venice Film Festival winning two prestigious prizes including a Best Actress Volpi Cup prize to Staunton and the Golden Lion to Mike Leigh. The film would garner several accolades including 3 Academy Award nominations for Best Director and Original Screenplay for Leigh and Best Actress for Staunton. The film would win 3 British Academy Awards which included Best Actress for Staunton, Best Director to Leigh, and Best Costume design along with nominations for Best Picture, Supporting Actor & Actress, & Best British Film.

Vera Drake is a powerful, harrowing, yet entrancing film from Mike Leigh and company which includes a powerful performance from Imelda Staunton. The film is no doubt one of Leigh's best among such classics as Naked and Secret & Lies as Leigh fans will certainly enjoy it. Audiences who are into great acting, dramatic staging, and strong subject matters will no doubt enjoy this though it's not a film for everyone. In the end, Vera Drake is one of the best British films to come out of this decade as well as one of Mike Leigh's most enduring films of his acclaimed career.

Mike Leigh Films: (Bleak Moments) - (Hard Labour) - (The Permissive Society) - (Knock for Knock) - (Nuts in May) - (Abigail's Party) - (Kiss of Death) - (Who's Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets & Lies - Career Girls - Topsy-Turvy - All or Nothing - Happy-Go-Lucky - Another Year - Mr. Turner

(C) thevoid99 2011