Mrs. Harris Goes to Paris

 

Based on the novel Mrs. ‘Arris Goes to Paris by Paul Gallico, Mrs. Harris Goes to Paris is the story of a London cleaning maid who discovers a haute couture dress by Christian Dior prompting her to travel to Paris to buy a Dior dress to the amazement of the people working for Dior. Directed by Anthony Fabian and screenplay by Fabian, Carroll Cartwright, Keith Thompson, and Olivia Hetreed, the film is comedy-drama that has a woman who falls in love with the fashion in Paris in the hopes she can be accepted to the world despite being working class as the titular character is played by Lesley Manville. Also starring Lambert Wilson, Alba Baptista, Lucas Bravo, Ellen Thomas, Rose Williams, Jason Isaacs, and Isabelle Huppert. Mrs. Harris Goes to Paris is a delightful and enchanting film from Anthony Fabian.

Set in 1957, the film follows a widowed cleaning lady from London who cleans the home of a client where she discovered a Christian Dior gown as she falls in love with and wants to get one herself where she travels to Paris to purchase a gown to the surprise of the people working at Dior. It is a film that follows this woman in Ada Harris who had lost her husband 13 years ago in World War II as this encounter with this Dior gown while cleaning a client’s apartment has her wanting a dress herself. The film’s screenplay is largely straightforward as it plays into Mrs. Harris’ life cleaning homes for some posh clients including a young struggling actress in Pamela Penrose (Rose Williams) yet is the discovery of this dress that has her aiming for a new dream where she would raise enough money from work but also some overdue war-widow pension and luck gives her enough money to not only travel to Paris but to also buy a gown.

While the house of Dior where its designer (Philippe Bertin) makes the dresses with his employees is exclusive, Mrs. Harris manages to come in with money to buy one to the surprise of many including its director Claudine Colbert (Isabelle Huppert) to reluctantly let Mrs. Harris see the dresses with other rich and exclusive clientele including Marquis de Chassagne (Lambert Wilson) who is friendly to Mrs. Harris. Colbert is unsure about Mrs. Harris buying something expensive from Dior yet the fashion house is going through financial issues due to the exclusive rich clientele that hasn’t paid for the service that Dior and his employees have done. Mrs. Harris would also befriend the accountant Andre` Fauvel (Lucas Bravo) and a young model in Natasha (Alba Baptista) who are both going through their own issues individually as well as their own feelings for each other. Marquis de Chassagne’s friendship towards Mrs. Harris has him reflecting on his childhood but also realizing that Mrs. Harris is a woman that has a lot more to offer as the people at Dior would make a dress that doesn’t just live up to their standards but also something that a common woman could afford.

Anthony Fabian’s direction is vibrant in not just its settings but also in telling this story of a woman who is a dreamer that wants to have some of the best things in life. Shot on various locations in Paris and London as well as Budapest serving as additional locations for Paris and London. Fabian maintains something that is straightforward in terms of the compositions in the wide and medium shots yet does create some stylistic moments whenever Mrs. Harris is gazing over something as there is this great close-up where she is in awe while everything else in the background is moving around her. Fabian’s close-ups add to the drama but also in some of the comedic moments as it relates to some of the culture shock Mrs. Harris goes to as Paris is surrounded by trash due to a strike that is happening at that time. Especially as a woman that Mrs. Harris meet at the fashion show would buy the dress that Mrs. Harris wants as she is connected to a government official who is creating trouble for this strike.

Fabian also plays into some of the social tension and expectations for Dior and its house with Fauvel having some ideas of how to help the house save itself financially as well as not layoff any of its workers and models. It is a key moment late in the film’s second act as it would also play into Colbert’s development as someone who is really protective of Dior and the brand where Mrs. Harris would make a discovery of Colbert’s life outside of Dior that would be a key moment into their tense relationship. Then there’s the dress that people in Dior made for Mrs. Harris as it showcases the amount of work, effort, and craftsmanship that is put into a dress as it is something Mrs. Harris is aware of as it play into what Dior needed to do for their future. It also plays into a dream that Mrs. Harris is trying to fulfill given the fact that she lost her husband and was directionless for years. Especially as reality would set in but it is through her good heart and determination is where the film shows what it needed to be to show the kindness of people no matter where they’re from or what social class they’re in as long as they appreciate the little things that makes life meaningful. Overall, Fabian crafts an evocative and heartfelt film about a widowed cleaning maid traveling to Paris to buy a Christian Dior gown.

Cinematographer Felix Wiedemann does amazing work with the film’s cinematography from the greyish look of London to a more colorful tone for the scenes in Paris in its interior/exterior scenes. Editor Barney Pilling does excellent work with the editing with its stylish approach to dissolves and other stylish cuts to play into the world of haute couture fashion. Production designer Luciana Arrighi, with set decorators Fotini Dimou and Nora Talmaier plus supervising art director Andrew Munro, does brilliant work with the look of the Dior fashion house as well as the more modest homes of Fauvel and Mrs. Harris with the latter being a small apartment in London. Costume designer Jenny Beaven does phenomenal work with the costume design from the ragged yet plain clothing that Mrs. Harris and her British friends wear to the more stylish clothes of the people in Paris as well as the gorgeous design of the Dior dresses that has so much attention to detail as it is a highlight of the film.

Hair/makeup designer Csilla Blake-Horvath does nice work with the look of the characters as well as some of the hairstyle of the times in Paris that the younger women have as well as the different looks that Colbert would have. Special effects supervisors Neal Champion and Robert Horvath, along with visual effects supervisors Nikolas d’Andrade and Sander Jansen, do terrific work with the visual effects as it mainly serves as set dressing for some of the locations as well as a key scene at a London bridge. Sound designers Emiliyan Arnaudov and Marc Lawes do superb work with the sound in the way things sound from afar inside an apartment as well as other natural sounds that appear in the film. The film’s music by Rael Jones is wonderful for its lush and sumptuous orchestral score that is full of rich string arrangements and melodic elements while music supervisor Dushiyan Piruthivirajah provides a soundtrack with some can-can music as well as pop/rock n’ roll music from Chuck Berry and Juliette Greco.

The casting by Katalin Baranyi, Andy Pryor, and Mathilde Snodgrass is marvelous as it feature some notable small roles from Freddie Fox as a RAF officer who delivers Mrs. Harris her widow’s pension, Guilaine Londez as a posh woman in Mathilde Avallon who buys the dress that Mrs. Harris wants, Dorottya Ilosvai as Avallon’s daughter, Delroy Atkinson as a bus ticket handler in Chandler, Christian McKay as a client of Mrs. Harris in Giles Newcombe, Bertrand Poncet as a Dior designer in Monsieur Carre`, Philippe Bertan as the famed designer Christian Dior during his final year in his life, Roxane Duran as a secretary in Marguerite, and Anna Chancellor as a posh client of Mrs. Harris in Lady Dant who would have the Dior dress that Mrs. Harris discovers. Jason Isaacs is superb as Archie as a friend of Mrs. Harris who is always fond of her as he also helps out with money since he works at the dog races. Rose Williams is fantastic as a young struggling actress in Pamela Penrose whom Mrs. Harris cleans for as she always looks at Mrs. Harris as a godmother of sorts despite the fact that she’s not very smart.

Ellen Thomas is excellent as Mrs. Harris’ friend Vi Butterfield who is also a cleaning maid that is a bit more of a realist yet often brings a lot of laughs and support as a woman who does what she can to help Mrs. Harris as well as be a source of joy. Lucas Bravo is brilliant as the young accountant Andre` Fauvel who befriends Mrs. Harris while expressing his ideas to her in how to help Dior get out of its financial troubles. Alba Baptista is amazing as Natasha as a Dior model who shares Fauvel’s love for existential philosophy as she copes with the pressures in being a model as she also finds support in Mrs. Harris. Lambert Wilson is incredible as Marquis de Chassagne as a wealthy man who is fascinated by Mrs. Harris as she reminds him of a woman who cared for him in boarding school while also realizing that she has a lot more to offer than the people in his social circle.

Isabelle Huppert is phenomenal as Claudine Colbert as the director of Dior who is also Christian Dior’s greatest protector as she is a woman trying to run things while being skeptical towards Mrs. Harris only to realize her value as well as her own similarities with Mrs. Harris in the way they run things. Finally, there’s Lesley Manville in a spectacular performance as Mrs. Ada Harris as this widowed cleaning maid whose encounter with a Dior gown has her reaching for a new dream where Manville brings this exuberance and charisma to a character that is a dreamer but also is willing to fight for those who are feeling defeated as it is a performance for the ages for Manville.

Mrs. Harris Goes to Paris is a sensational film from Anthony Fabian that features a tremendous leading performance from Lesley Manville. Along with its supporting ensemble cast, gorgeous visuals, its exploration of fashion and what it does for people, Jenny Beaven’s incredible costume design, and a sumptuous music score. It is a film that explores a woman who just wants to buy an expensive gown while bringing some joy to a fashion house that needed to be appreciated for their hard work and dedication to fashion. In the end, Mrs. Harris Goes to Paris is a phenomenal film from Anthony Fabian.

Anthony Fabian Films: (Skin (2008 film)) – (Louder Than Words)

© thevoid99 2023

Phantom Thread

Written, directed, and shot by Paul Thomas Anderson, Phantom Thread is the story of a fashion designer who finds his muse in his need to design clothes for women during period of couture in 1950s London. The film is an exploration into the world of fashion and a man’s desire to create the perfect clothing for women as well as dealing with the women in his life who want what is best for him. Starring Daniel Day-Lewis, Vicky Krieps, and Lesley Manville. Phantom Thread is a ravishing and evocative film from Paul Thomas Anderson.

The film follows a fashion designer who creates clothes for some of richest and most powerful women in London during the 1950s as he finds a muse in a waitress from the British countryside as he has her modeling clothes for her as well as have help create these dresses. Along the way, the character of Reynolds Woodcock (Daniel Day-Lewis) deals with his need to create the perfect dresses with his sister Cyril (Lesley Manville) looking over the business and ensuring everything goes well. Even as they deal with the new presence in their house in Alma (Vicky Krieps) who would work sewing these dresses as well as be a model. Yet, Alma wants to do more not knowing about Woodcock’s routines as it’s something he needs in his time to create. Paul Thomas Anderson’s screenplay doesn’t just explore the obsession and need to create perfection in these dresses but also the need to feel appreciated for his work as he often works for some of the most important women in Europe.

While much of the film’s narrative is told from Alma’s perspective as she tells the story of how she met Woodcock one day when he goes to the country. It also establishes the world that Woodcock lives in as he spends much of his time during breakfast sketching ideas for dresses with Cyril sitting by silently knowing not to make any noise during that time. It’s something Alma would eventually understand as she would also realize she isn’t the first person to become a muse for Woodcock as they come and go. Her simple beauty and naiveté is what would attract Woodcock to her as he takes her to his country home after dinner to have her try on a dress with Cyril making notes of her measurements. She wouldn’t just be a muse/seamstress for Woodcock while working with other seamstresses but also someone who appreciates what he does when a dress he makes for one of his rich clients is treated with disrespect that angers Woodcock.

While much of the film’s narrative is straightforward, it’s Anderson’s study of the characters that are unique where he establishes them as who they are and the role they play into this very demanding world of high fashion. Woodcock is the artist who takes his time trying to create these gorgeous dresses as he would spend days to weeks trying to figure out the right material and measurements. Cyril’s role is in the business as well as making sure everything is in place where her brother isn’t distracted though she has to remind him of the people he’s working for as they pay for the house they live in. Though Cyril is a bit wary of Alma’s presence, she is welcoming to it to ensure that her brother can get ideas but warns Alma of disrupting routines and to not create any kind of chaos that could be surprising. Alma is someone who does follow the beat of her own drum as she wants to be more than just a collaborator to Woodcock. Yet, she would become frustrated as it would occur late in the second act through a simple act as it would play with Woodcock’s own state of mind and later his own emotions that would come to play in the film’s third act.

Anderson’s direction does bear elements of style in terms of the compositions he creates but also display an air of simplicity in the way he presents this very posh world of couture fashion. Shot largely on location in London and various parts of Great Britain along with bits of Switzerland, Anderson would display this world with a meticulous approach to his close-ups in how dresses are sewn as well as the great attention to detail in the measurements as well as the type of fabric that is needed. While there are also some wide shots for some of the film’s locations and a few of the dramatic scenes in the film. Much of Anderson’s direction emphasizes on close-ups and medium shots to play into the interaction with the characters as well as these elements of precise movements of how people come into the Woodcock house. Even as Anderson establishes the importance of Woodcock’s routine from the moment he gets out of bed, the clothes he decides to wear for the day, doing his sketches during breakfast, and working with his seamstresses on the dresses as he treats them quite fairly.

Also serving as the film’s cinematography, Anderson would try to capture every bit of detail into the look of the film including the way dresses are presented under natural lighting as the photography kind of harkens back to the days of Technicolor of the late 1940s/early 1950s. For the scenes in the countryside, it is presented in a much more different light where Anderson goes for something that is more natural as it would emphasize the growing tension between Woodcock and Alma. Notably in the third act where despite their fondness for each other, their differences in age and social backgrounds would come into play such as a New Year’s Eve party sequence is where Alma fits totally right in with Woodcock feeling out of sorts. Anderson’s usage of wide shots and tracking camera shots play into Woodcock’s own confusion that would eventually force him to contend with changing times that would emerge in fashion during the 1950s. Still, Anderson focuses on the relationship between the creator and his muse and the role they play for each other with Alma playing a role that is bigger than she realized. Overall, Anderson crafts an intoxicating and rapturous film about the mind of a fashion designer and the muse who inspires him.

Editor Dylan Tichenor does brilliant work with the editing as it display elements of style in its approach to jump-cuts and dissolves while knowing when not to cut during some of the film’s dramatic moments that includes some tense scenes in the third act. Production designer Mark Tildesley, with set decorator Veronique Melery and supervising art director Denis Schnegg, does amazing work with the look of the Woodcock home in London as well as the house in the country and some of the places he, Alma, and Cyril go to. Costume designer Mark Bridges does incredible work with the costumes from the look of Woodcock’s suits and clothes that he wears to the gorgeous dresses that he creates as it looks and breathes color where they act as characters of their own as it’s a major highlight of the film. Makeup designer Paul Engelen does fantastic work with much of the film’s minimal makeup that play into the style that women wore during the 1950s.

Special effects supervisor Chris Reynolds and visual effects supervisor Marc Massicotte do terrific work with a few of the film’s visual effects as it mainly consists of set-dressing for a few of the film’s locations. Sound designer Christopher Scarabosio and sound editor Matthew Wood do excellent work with the sound from the sparse approach to how objects sound during breakfast which would annoy Woodcock to some of the quieter moments in the film. The film’s music by Jonny Greenwood is phenomenal for its rich orchestral score with elements of lush string and piano pieces in the film that add to the elegance of the times while the music would include some classical pieces as well as some of the pop standards of the time before the arrival of rock n’ roll.

The casting by Cassandra Kulukundis is marvelous as it feature some notable small roles from Camilla Rutherford as Woodcock’s muse early in the film, Lujza Richter as the Belgium royal Princess Mona Braganza, Gina McKee as one of the Woodcock’s rich clients in Countess Henrietta Harding, Silas Carson as a rich man in Rubio Guerrero, Harriet Sansom Harris as a rich woman that is marrying Guerrero only to take poor care of the dress that Woodcock created, Emma Clandon as the picture of Woodcock’s mother, and Brian Gleeson as Dr. Robert Hardy as a young doctor who comes in to look over Woodcock as he befriends Alma. Lesley Manville is remarkable as Cyril as Woodcock’s sister and business manager who runs everything as well as ensuring that her brother’s routine keeps on going while being sympathetic to Alma’s needs in wanting to loosen things in his life.

Vicky Krieps is radiant as Alma as a young waitress who becomes Woodcock’s new muse/collaborator as she helps run bits of the household and does what she needs to be done as it’s a performance that has this mixture of naiveté and curiosity of a simple woman in a world that she’s new to but understands her role but wants to do more. Finally, there’s Daniel Day-Lewis in a tremendous performance as Reynolds Woodcock as this fashion designer that is intent on creating the best dresses for some of the most important women in the world. It’s a performance that has Day-Lewis provide bits of humor into his performance but also this air of obsession to achieve perfection with great care as well as displaying something has him be aloof in small moments. Day-Lewis would display amazing chemistry with Krieps and Manville in the way he deals with them while also showing vulnerability in the scene where Woodcock talks to Alma about his mother and her wedding dress which is something he cares so much about. If this performance is to be the last performance that he ever does. At least he is going on top.

Phantom Thread is a spectacular film from Paul Thomas Anderson that features great performances from Daniel Day-Lewis, Vicky Krieps, and Lesley Manville. Along with its gorgeous visuals, breathtaking costumes, intricate sound design, and Jonny Greenwood’s sumptuous score. It’s a film that explores a world that is unique in its time and a man’s willingness to create something special with the help of a young woman from another world. In the end, Phantom Thread is a magnificent film from Paul Thomas Anderson.

P.T. Anderson Films: Hard Eight/Sydney - Boogie Nights - Magnolia - Punch-Drunk Love - There Will Be Blood - The Master - Inherent Vice - Junun - Licorice Pizza - One Battle After Another

Related: The Short Films & Videos of P.T. Anderson - The Auteurs #15: Paul Thomas Anderson

© thevoid99 2018

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

Topsy-Turvy

Written and directed by Mike Leigh, Topsy-Turvy is the story about Gilbert and Sullivan’s attempt to create their greatest play in The Mikado as the two men fight each other creatively and personally through this 15-month ordeal that culminates with its premiere in 1885. While the film is a fictional account of the making of The Mikado, Leigh approach his same improvisational style to directing actors to explore what goes in the world of creating art. Starring Jim Broadbent, Allan Corduner, Timothy Spall, Lesley Manville, Shirley Henderson, Kevin McKidd, Dexter Fletcher, Alison Steadman, Ron Cook, and Andy Serkis. Topsy-Turvy is a delightful yet engrossing film from Mike Leigh.

It’s January 1884 as W.S. Gilbert (Jim Broadbent) and Arthur Sullivan (Allan Corduner) release their new opera Princess Ida to a lukewarm reception as Sullivan falls ill from kidney disease while Gilbert is dealing with writer’s block. Facing pressure to create a new piece for the Savoy, Sullivan goes on a holiday to France while Gilbert stays in England with his wife Kitty (Lesley Manville) who has been aware that having Princess Ida play during the hot British summer was a bad idea. After Sullivan’s return from France with mistress Fanny Ronalds (Eleanor David), he and Gilbert have no idea what to do as Sullivan refuses to repeat his own musical ideas while Gilbert has a hard time creating a new story.

With their producer Richard D’Oyly Carte (Ron Cook) deciding to revive their old play The Sorcerer as a way to make profit, Gilbert and Sullivan are unsure what to do as Sullivan refuses to repeat any ideas for a new libretto that Gilbert has written. Meanwhile, the actors who had worked in the Gilbert & Sullivan plays are becoming frustrated as some want a pay raise while dealing with their own personal issues. When Kitty convinces Gilbert to attend a Japanese exhibition of arts and crafts, Gilbert is suddenly inspired to write a new piece as it also inspires Sullivan to create The Mikado.

With all of the actors joining up for the project, complications arise as Gilbert wants an air of authenticity as he invites Japanese women to teach his actresses how to walk. Still, Gilbert and Sullivan are unsure about the opera itself where a decision about a song cut from the opera forces him to deal with the actors who felt very strongly about it. With opening night emerging, Gilbert and Sullivan wonder how the play will do as they also try to deal with its aftermath.

The film is about two men dealing with failure and the pressure to come up with something that would eventually be their best work. Yet, it’s also an in-depth look into the way art is made by two people who respect each other but at times, don’t really like each other. Sullivan is a guy that likes to have a good time with a mistress and enjoy a bit of decadence to escape his own kidney problems. Gilbert is the more anxiety-ridden as he wants to avoid dealing with his ailing mother while spending time with his wife. Yet, they’re both very creative personalities who really want to bring out the best opera out there to Victorian society as they’re also very stubborn artists.

Mike Leigh’s approach to the story deals with the world of creativity as well as the world of the late 1800s in British Victorian society where men wore suits and women wore big dresses with corsets inside. Leigh also explores the complex and often troubled relationship between Gilbert and Sullivan based on stories about the duo and the way they worked together. The story also allows Leigh to dwell into what the actors are thinking about their own performances in the play as well as their own personal lives. Yet, they all come together in the third act when the actors and the creative forces try to finish an opera they all believe could be great.

Since Leigh is known for never using a script and allowing his actors to improvise, it allows the film to have a tone that feels very loose through his direction. With rich compositions highlighting a lot on what goes on in and out of the stage as well what goes in the respective homes of Gilbert and Sullivan. Leigh crafts a film that is engaging into what goes in the world of creating art while having some amazing compositions such as high shots to see what middle-class people would see at a theater or what the actors are seeing. The overall work Leigh creates is sensational as he creates a truly funny yet mesmerizing film.

Cinematographer Dick Pope does an incredible job with the film‘s colorful photography from the way he sets the mood in the stage look for the differing plays to a more straightforward yet colorful look to many of the interiors settings in the film. Editor Robin Sales does an excellent job with the editing to create rhythmic cuts to capture the intensity of what goes on in the making of a stage as well as playing to the melody of some of the musical moments of the film. Production designer Eve Stewart, along with set decorator John Bush and art director Helen Scott, does a spectacular job with the set pieces created from the spacious living room of Gilbert to the more intimate bedroom of Sullivan plus the staging of the operas that is created in the film.

Costume designer Lindy Hemming does a magnificent job with the late 19th Century period costumes from the dresses look and feel to the costumes created for The Mikado opera. Hair & makeup designer Christine Blundell does a fabulous job with the way the hair looks to that 19th Century period for women as well as the wigs and makeup made for The Mikado. Sound recordist Tim Fraser and sound editor Peter Joly do stellar work with the sound from the way sound is made for some parts of the stage presentation to the intimacy that occurs during rehearsal. The film’s music is largely dominated by the works of Gilbert and Sullivan that is adapted by composer Carl Davis who uses pieces from other operas as score music to emphasize the drama and humor that includes the stage scene as it’s a highlight of the film.

The casting by Nina Gold is truly amazing for the large ensemble that is created for the film as all of the actors do their own singing for the film. Making appearances in the film, which includes a lot of Leigh regulars, are Ashley Jensen as a chorus member, Andy Serkis as an eccentric choreographer, Katrin Cartlidge as a friend that Sullivan entertains, Alison Steadman as a costume designer, Eve Pearce as Gilbert’s ailing mother, Naoko Mori as a Japanese waitress Gilbert meets at the exhibition, Dexter Fletcher as Sullivan’s butler, and Wendy Nottingham as Carte’s assistant Helen Lenoir. In standout supporting performances, there’s Vincent Franklin as the joyful Rutland Barrington and Martin Savage as the troubled yet gifted George Grossmith.

Dorothy Atkinson as the injured diva Jessie Bond, Eleanor David as Sullivan’s mistress Fanny Ronalds, and Shirley Henderson as the insecure yet talented Leonara Braham are all wonderful in their respective roles. Kevin McKidd is excellent as the demanding Duward Lely while Timothy Spall is superb as veteran lead Richard Temple who gets to play the title role in The Mikado. Ron Cook is terrific in a low-key performance as Gilbert and Sullivan’s producer Richard D’Oyly Carte while Lesley Manville is brilliant as Gilbert’s supportive wife Kitty.

Finally there’s the duo of Jim Broadbent and Alan Corduner in fantastic performances in the respective roles of W.S. Gilbert and Arthur Sullivan. Broadbent brings a great sense of turmoil and anguish in Gilbert that is striving to create the best opera he can while Corduner is the more humorous of the two as the funnier Sullivan. Though Broadbent and Corduner don’t have a lot of scenes together, the two do have great rapport together as these two different personalities who are trying to create an opera they will be remembered for. It’s definitely some of the best work for both Broadbent and Corduner for the way they portray Gilbert and Sullivan.

Topsy-Turvy is a splendid yet witty film from Mike Leigh featuring an outstanding ensemble cast led by Jim Broadbent and Alan Corduner. The film is definitely one of Leigh’s finest films in terms of its ambition and the way he brings a unique interpretation to the world of late 19th Century Victorian society. Notably in how he explores the world of creativity at its most troubled as he creates a wonderful study on that world while making it entertaining with the use of the music and operas of Gilbert & Sullivan. In the end, Topsy-Turvy is a superb yet dazzling 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 & Lies - Career Girls - All or Nothing - Vera Drake - Happy-Go-Lucky - Another Year - Mr. Turner

© thevoid99 2012

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

Secrets & Lies

Originally Written and Posted at Epinions.com on 7/11/07 w/ Additional Edits.

Following 1993's controversial film Naked, Mike Leigh has created international attention for his film that explored a man's journey into London as he talks about philosophy while doing horrible things to the women around him. Despite the acclaim and international attention it brought, Leigh also courted criticism for his film. Three years later, Leigh decided to change the tone of his previous film for something more dysfunctional with his 1996 film that some considered to be one of his best. A family drama about a black woman who searches for her birth mother who is shocked to find out that she's white and very dysfunctional. The film is entitled Secrets & Lies.

Written and directed by Mike Leigh, Secrets & Lies is a drama about a family that is very dysfunctional with its mother often very despondent and sad by the drama that surrounds her. Meanwhile, she is unaware that she has another daughter who is black yet very successful and grounded. When her daughter finally traces her real parentage and finds her mother, the reaction surrounding her mother's family becomes a shock. Starring Brenda Blethyn, Marianne Jean-Baptiste, Claire Rushbrook, Phyllis Logan, Elizabeth Berrington, and Leigh regulars Lesley Manville and Timothy Spall. Secrets & Lies is a harrowing yet powerful masterpiece from Mike Leigh.

It's a typical day at work for Maurice Purley (Timothy Spall) who works as a photographer. Shooting weddings and other styles including modeling shots, Maurice is doing fine in his job yet he's feeling unhappy. His marriage to Monica (Phyllis Logan) is strained as she is often frustrated and nagging over things. When their niece Roxanne (Claire Rushbrook) is about to turn 21 soon, the two decide to have a family get together at their house. Though Maurice hasn't spoken to Roxanne or his sister Cynthia (Brenda Blethyn) in more than two years, he's more than welcome to the idea. Life for Cynthia however, isn't going well as she and Roxanne are not getting along with Roxanne now being angry over things while refusing to have her mother meet her new boyfriend Paul (Leo Ross). Roxanne’s lashing out and the loneliness she's suffering has caused a lot of guilt for Cynthia.

Meanwhile in another side of London, Hortense Cumberbatch (Marianne Jean-Baptiste) is mourning the death of her adoptive mother. Though she lives a great live as an optometrist, Hortense knows the fact that she is adopted since her adopted parents told her as a child. After talking to a social worker (Lesley Manville), she learns on who her real mother is. Then while reading the files, she learns that Cynthia Rose Purley is white. Shocked and baffled, Hortense ponders on whether or not she should try to find out more about Cynthia. After filing through papers and everything, she learns that Cynthia is alive and well.

While taking a break for work, Maurice pays an unexpected visit to Cynthia's home. Aware of her loneliness and everything, he invites to the barbeque he's having in honor of Roxanne's birthday. He expects Roxanne and whoever she’s dating to come. After the very emotional meeting with Cynthia, Maurice ponders his own family life and how Cynthia tried the best she could to cope with their mother’s death early in their life. When Cynthia asks Roxanne about Maurice's barbeque, Roxanne refuses to come as Cynthia pleads with her to be more open. Instead, Roxanne says insulting things leaving Cynthia despondent. The timing couldn't have been worse when Cynthia suddenly receives a phone call from Hortense of all people in which, Cynthia receives the shock of her life.

After reluctantly agreeing to meet, the two wait out at a train station where they finally meet. Shocked over when the baby was born and conceived, Cynthia is full of grief over what she's done to Hortense. Learning that Hortense is doing fine and everything, the meeting becomes extremely emotional for Cynthia. Yet, it's become something rewarding considering that her relationship with Roxanne is very rocky. Cynthia calls Hortense as the two begin to meet more and more as they now bond like mother and daughter.

In a day where Maurice photographs a scarred woman (Emma Amos), Monica visits as she and Maurice's assistant named Jane (Elizabeth Berrington) discuss plans for the barbeque. The day gets stranger when a man named Stuart Christian (Ron Cook), who was once the owner of the photo studio that Maurice had bought. Returning from Australia, the despondent Christian sees what Maurice has done but isn't impressed with how he makes a living as the meeting turns bitter.

After deciding to go to her birthday party at her uncle, Roxanne brings over Paul while Cynthia calls Maurice to confirm that she's bringing a friend. The party goes smoothly at first with no incident, even as Cynthia brings Hortense to the party where things go well without incident. Though Hortense had to see how Roxanne acts towards her mother. When Cynthia becomes emotional, the secrets and lies begin to come out as Hortense finds herself in the middle of a family drama.

Considering that the film is a family drama, Mike Leigh chooses to not over-emphasize the drama or situations that would build to up emotional blow-ups in the end. Instead, his improvisational approach to his writing and direction works in building a realism of a dysfunctional family who are so disconnected that they're brought together by someone who doesn't fit in at first. Since many of the characters aren't played as caricatures, there's depth to all of the characters in the film. Leigh's improvisational style in which the actors are given the freedom to improvise and create their own lines feel universal to an audience who can understand family dysfunction.

Leigh's observant yet mesmerizing direction is at its best when he decides to capture a moment of conversation and drama. Two scenes are shown with an unbroken take in which, the actors seem very comfortable and in character where they engage in conversation of sorts. The conversations and subject matter they talk about is very real. Though there's not much humor, whenever it pops up, it's funny and natural like in any conversation.

While some might complain about the film's pacing, even at a running time of 142-minutes. It's only deliberate to build the momentum of the family's unhappiness and how much pain they're building up. Then there's Hortense, who just went through her own pain about her adopted mother's death is trying to remain strong throughout the whole thing. When she gets to know her real mother, she sees behind all of this pain she's suffering is that Cynthia is a wonderful woman despite her flaws.

Family is really the theme of the film. Leigh shows that no matter how messed up people are, when they're together. There's always someone to talk to, even in a moment of desperation or sadness. While the character of Roxanne may be described as selfish and uncaring, it's because she's got a lot of anger towards her mother about who she is and what she's hiding.

There's also Maurice, who is really the one person who, like Hortense, is very quiet about trying to handle things and try to be strong about every situation. When he's forced to see the family drama that's happening near the end, he is the one trying to settle everything where he's kind of like the glue in family. It's in Leigh's wonderful direction and approach to storytelling that makes the film a compelling yet heartbreaking family drama.

Leigh's longtime cinematographer Dick Pope brings a wonderful look to the film that looks very colorful and natural to the film's exterior shots of London as well as the interiors whether it's the bluish colors that surrounds the home of Maurice, the dark intimacy of Cynthia's home or the spacious, white look of Hortense's home. Production designer Alison Chitty helps the film's look to show the contrast whether it's the clean look of Hortense and Maurice or the decayed home and claustrophobia of Cynthia's home.

Editor Jon Gregory does excellent work with the film's editing to capture the emotion of the family drama that goes on while not cutting some of the film's dramatic conversations. Sound recordist George Richards does great work in capturing the film's sounds, notably London in all of its different sections. Music composer Andrew Dickson brings a wonderfully melancholic, yet enchanting score led by a trumpet to convey the drama and sadness surrounding each character.

The film's cast is wonderfully assembled that features Cameos from other Mike Leigh players like Peter Wight, Lucy Sheen, Ruth Sheen, Phillip Davis, and Leigh's then-wife Alison Steadman. Lesley Manville is excellent in her brief role as a sympathetic social worker who prepares Hortense for what was to come. Elizabeth Berrington is also good as Maurice's assistant Jane who is invited to the party as she tries to see how Maurice is trying to stabilize situations. Ron Cook is wonderful as a frustrated owner who is down on his luck and lashing out at Maurice claiming he doesn't know a thing about art. Leo Ross is good as Roxanne's boyfriend Paul who tries to understand her situations while being interested in meeting Cynthia. Other small roles that included Emma Amos as a scarred model and Michele Austin as Hortense's friend Dionne are good in the brief scenes they're in.

Claire Rushbrook is excellent as the angry, selfish Roxanne who despises her mother while trying to hold down a job cleaning the streets and pondering on why she is angry all the time. Phyllis Logan is also great as Monica, a housewife who is feeling frustrated with her own lifestyle as well as her own resentments towards Cynthia over stability. Timothy Spall gives probably one of his best performances as Maurice, a man who is trying to understand his own unhappiness surrounding the women in his life as he tries to comfort everyone in whatever drama they're in. Spall is in rare form as throughout almost the entire film, is very restrained and subtle as he tries to be a father of sorts to everyone including his older sister Cynthia.

Marianne Jean-Baptiste is great as Hortense, a woman in mourning who is trying to find out about her roots. When she meets Cynthia, Jean-Baptiste shows remarkable strength in a woman, who is successful and grounded, who becomes an unlikely friend for Cynthia. The film's best performance easily goes to Brenda Blethyn as the fragile, neurotic Cynthia. Blethyn gives a performance that is very raw as a woman who has lost a lot of her looks and confidence and is often alienated by everyone. When Hortense comes into her life, Blethyn shows more life and joy to her performance that is often mixed in with light-hearted humor and drama. It's an amazing performance from the actress who is often beloved by filmgoers.

When it premiered at the 1996 Cannes Film Festival, the film was a surprise hit in which it won Leigh the prestigious Palme D'or while Brenda Blethyn also received the Best Actress prize. The film would also give Blethyn a Golden Globe win for Best Actress while the film itself received five Oscar nominations including Best Picture, Best Director and Screenplay to Leigh, Best Actress to Blethyn, and Best Supporting Actress to Marianne Jean-Baptiste. At the British Academy Awards, the film walked with three prizes including Best British Film, Best Screenplay, and another Best Actress prize to Brenda Blethyn.

The film is often considered Leigh's masterpiece as he continues to create amazing films in his unique style. Fans of Leigh work will no doubt consider this his greatest triumph although others might prefer his previous film, the very dark existential drama Naked. In the end, Secrets & Lies is a brilliant, harrowing family drama from Mike Leigh and company.

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 - Career Girls - Topsy-Turvy - All or Nothing - Vera Drake - Happy-Go-Lucky - Another Year - Mr. Turner

(C) thevoid99 2011