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

Naked (Expanded Criterion DVD Review)

Originally Written and Posted at Epinions.com on 8/23/05 w/ Extensive Revisions & Additional Content.

One of Britain's most celebrated and independent directors, Mike Leigh has made most of his films surrounding the working class and their dysfunctions around the world. Starting out with small features for BBC and for British cinema, Leigh's early films contained mostly dramatic insights on British, working-class citizens from the early 70s to the 80s. In 1989, Leigh finally gained international recognition with his 1989 drama High Hopes which was a satire of British society in the post-Margaret Thatcher world. 1990's Life is Sweet also showed his dark view of society by having a bulimic woman as his protagonist. Then in 1993, Leigh shook things up even more with a far more controversial film about an unemployed philosopher who embarks on a journey around his surroundings while belittling those who are weaker to him entitled Naked.

Written and directed by Leigh, Naked is a journey of sorts about a disenfranchised man who doesn't have a job but has an intellectual charm as he grabs a car, meets his ex-girlfriend's roommate, and wanders around London talking philosophy and having his way with women. The film is also a commentary on the post-Thatcher society where Britain is still in chaos with its protagonist meandering about everything he can think of while dealing with people in an emotional and mental way. Starring David Thewlis, Katrin Cartlidge, Lesley Sharp, Greg Cruttwell, Claire Skinner, Ewen Bremner, Gina McKee, and Susan Vidler. Naked is a brutal, harrowing journey that questions the moralities of the world through its troubling protagonist.

After raping a woman and stealing a car, Johnny (David Thewlis) drives from Manchester to London to meet up with his ex-girlfriend Louise (Lesley Sharp). Arriving at her flat, Johnny meets Louise's roommate Sophie (Katrin Cartlidge) where they befriend each other as they wait for Louise who isn't happy to see Johnny. While Sophie enjoys having Johnny around, Louise isn't sure though he isn't a totally bad guy in comparison to their brutish landlord Jeremy (Greg Cruttwell). After Sophie gets too close, Johnny leaves to venture around London as he encounters various people including an angry Scot named Archie (Ewen Bremner) and his girlfriend Maggie (Susan Vidler).

With Johnny's encounters with various people having go into existential and spiritual discussions as he converses with a nightwatchman named Brian (Peter Wight). The two men see a woman (Deborah MacLaren) where Johnny has sex with her as she struggles with her fading looks. Johnny continues to wander around London as he flirts with a depressed waitress (Gina McKee) and harass a chauffeur (Robert Putt) while going into various discussions about everything and anything. Back at Louise's flat, Jeremy pretending to be another man asks Sophie about another roommate named Sandra (Claire Skinner). Sophie's encounter with Jeremy proves to be horrifying as he's already harassed a masseuse (Carolina Giametta) and raped a waitress (Elizabeth Berrington).

When Louise returns home to see Jeremy, she and Sophie wait for Johnny to return only to see him beaten and battered. With Sophie more intent to cling onto Johnny, Louise deals with Jeremy while awaiting Sandra's return.

When watching a film like this right in front of you, do not expect to have any likeable or happy-like moments. Leigh's aim for the film is simply to convey a brutality driven by bleakness and the question of existence. In some ways, the film is also like The Odyssey by Homer, which was referenced in the film, since it's about a man's journey through London in trying to find answers about humanity while challenging those with his view of the world. It's not a film to watch at first viewing but it does leave the viewers talking. The film's treatment of women will definitely be something that many of its female viewers will be offended by but Leigh isn't being sexist since some of his characters are heroines. The treatment on women from the viewpoint of Johnny and Jeremy. Johnny may be abusive but he actually listens to women and comforts them with his charm and wit. Jeremy though is a full-on misogynist who takes carnal pleasure in abusing women.

Leigh's been known for making a film, getting his actors together, and not bringing in a script leaving actors to improvise. That improvisation seems to work where the actors have a sense of themselves in what they want to do for the character while remaining true to the story. The film has several themes to pin-point on whether it's about the existence of humanity and conformity which is something Johnny wants to rebel against since he doesn't want to live by society's rules. The film may have a bleak outlook on the world and humanity, particularly in post-Thatcher Britain but Leigh chooses to try to find some glimmer of hope in the eyes of one man.

Leigh's improvisational writing and viewpoints that is in his script plays to his directing style since he aims for a gritty, brutal approach that makes the audience uncomfortable. Leigh is definitely confrontational in his directing style and his choices of locations for London and Manchester is inspiring for the fact that he refuses to show any kinds of landmarks and famed streets. Instead, Lee goes for the nitty-gritty by showing depressing places and dirty streets. It's really a film of the streets. Helping Lee capture that vision is his longtime cinematographer Dick Pope who brings a grainy, natural quality to the film without any kind of artificial light or anything glossy. Pope chooses to shoot London as it is as if the audience is there which is very colorless and very gray.

Helping the film in its interior looks of the apartments are production designers Alison Chitty and Steven Jones-Evans and art director Eve Stewart who decorate the film with such things for the characters whether it's the Greek statues or the anatomy posters for Sandra. Costume designer Lindy Hemming also shines for his drab, ordinary clothing for most of the cast but a Goth-punk like look for Sophie, and all black, trench-coat style look for Jeremy that is a precursor to what he would do with Batsuit in Batman Begins. Editor Jon Gregory manages to pull in a tight, leisurely-paced editing style to the film that makes the 130-minute feature seem to go with ease where Leigh's direction helps draw the audience into what's going on. The musical score of Andrew Dickson also captures the bleakness of its melancholia with its piano and harrowing string arrangements.

The film's large cast is wonderfully inspiring, especially if they're in a Mike Leigh film where they're given freedom to put themselves in characters. With such small stand out roles from Carolina Giammetta and Elizabeth Berrington as the women who are harassed by Jeremy to the roles of Darren Tunstall and Robert Putt as the working men that Johnny annoys. There is a wonderful moment in those performances including memorable ones from Ewen Bremner and Susan Vidler as the Scottish couple who are so dirty and misled, it's no wonder that Johnny takes pity on them though Bremner is more memorable for his twitch. Deborah MacLaren is excellent in her performance as the woman in the window who is desperately trying to relive her youth in a very powerful performance. Gina McKee is also amazing as the depressed cafe` waitress who is very sad by her loneliness as she is one of the rare women Johnny seems to take pity on without being abusive.

Peter Wight gives a memorable and excellent supporting performance as Brian, a morally night-watchman who listens to Johnny but is still convinced that there is more out there than Johnny's bleak view of the world. Wight makes his character more than just another of Johnny's intellectual conquest since he knows that Johnny has some great insight but he is really the shining light that Johnny doesn’t want to believe. Leigh regular Claire Skinner is excellent in her brief appearance as the uptight Sandra who couldn't believe in the state of things as she arrives in the final act of the film. Skinner's brief appearance is memorable for the fact that she is different from Louise and Sophie in terms of responsibility. Greg Cruttwell is wonderfully nasty and vile as Jeremy with his hatred towards women and his control in a performance that audiences will love to hate. Cruttwell brings in every ounce of disgust and obscene behavior that it's very convincing in a very disturbing performance.

The late Katrin Cartlidge is amazing as the aloof, stoned, desperate Sophie who seems to find the answer in her relationship with Johnny despite his flaws. Yet when Johnny leaves and she is forced to deal with Jeremy, she realizes her vulnerability and her own regrets into her lifestyle as she depends more and more on Johnny in a performance that is amazing for the gifted actress who is sorely missed. Lesley Sharp is really the film’s strongest female performance as Johnny's ex-girlfriend who doesn't really like having him around yet she knows of his good qualities. Sharp holds her own in nearly every scene, especially around Cruttwell who tries to have his way with her but she gives a fearless confrontational performance as the rare heroine that is needed in the film.

Finally, there's David Thewlis in probably his best performance yet as the comical, intelligent, and sleazy Johnny. Thewlis uses his quick-wit and charming demeanor to win the audience over despite some of his abusive actions. Thewlis shines in every moment of the film as a man trying to discover the idea of existence while challenging the idea of why humanity is cease to be. There is never a dull moment in Thewlis' performance nor from the things he says since he says them in a profound, intelligent way. His scenes with the women in the film show the man in a rare form of sweetness despite the fact that he can be rough as he proves that by all means, he's not a good man but he’s not a bad one either. He's just a man as Thewlis brings balance to that kind of character.

***Additional Content Written from 7/30/11-8/5/11***

The 2005 2-disc Region 1 DVD (1-disc 2011 Blu-Ray) presents the film in its theatrical 1:85:1 widescreen aspect ratio plus Dolby Digital Stereo sound as part of a newly restored high-definition digital transfer that is supervised by its writer/director Mike Leigh. The first disc features the film plus English subtitles for the hearing impaired and its original theatrical trailer. The first disc also includes a feature-length audio commentary track from Leigh and actors David Thewlis and Katrin Cartlidge recorded back in 1994 when the film was released on laserdisc.

The commentary has Leigh talking about the film and his approach to directing and improvisation since he doesn’t really write any scripts. With Cartlidge joining him in some of the commentary, they talk about the film’s accusation of misogyny which as Cartlidge defends Leigh claiming that the critics who made those accusations are missing the point. Thewlis, on a separate recorded commentary, talks about Leigh’s approach to directing actors along with the fact that the film was largely shot on location. Notably as Thewlis said that trying to come up with things in the performance was hard as Leigh admits to shooting 26 takes of a key scene of Thewlis and Peter Wight having a conversation just so he can find the right tone.

Leigh also talks about why he opened the film with a rape scene which was to get people an idea of what character they would meet. Yet, that is eventually challenged by the Jeremy character as a way for people to find the good in Johnny as opposed to Jeremy. Leigh reveals that Greg Cruttwell, who plays Jeremy, is nothing like the character he plays as was really the nicest person on set. Cartlidge reveals that a lot of biographical information was made for the characters but Leigh chose not to reveal too much so the audience can interpret while Thewlis reveals that a lot of scenes were cut because of length reasons. The overall commentary is very informative and engaging about the film and Leigh’s unique approach to directing.

The second disc of the DVD features an array of special features relating to the film. The first is a twelve-minute interview with filmmaker Neil LaBute on the film. LaBute discusses the film’s themes as well as a couple of key characters in the film such as Johnny and Louise. LaBute reveals that the film is partially about isolation in a world where things don’t make much sense anymore as Johnny is a character who likes to shake things up. LaBute also talks about Mike Leigh’s approach along with the accusations critics have of Leigh being misogynistic which LaBute believes is untrue. It’s a very enjoyable yet relaxed interview from LaBute that really dwells into the brilliance of Naked.

The second featurette is a 30-minute excerpt from the British TV show The Art Zone where author Will Self interviews Mike Leigh about his filmmaking methods at Leigh‘s favorite pub in London. Leigh talks about parts of his career while Self opens the segment with his fascination towards Leigh’s work, particularly Naked. Leigh discusses the way he collaborates his actors where they discuss about trying to find the characters in the film so the actors can get a chance to figure out how to approach their role and make it their own. Leigh also refutes the accusations as a misogynist by stating that the women he work with are far tougher feminists than the ones who claim he’s misogynist. It’s a pretty compelling piece that is interesting though lags at time as it’s a great piece for any hardcore fan of Mike Leigh.

The last big special feature is a 17-minute short film entitled The Short and Curlies that stars David Thewlis and Alison Steadman. It’s the story about a drugstore clerk who falls for a young man as she talks to a chatty hairdresser who is dealing with her depressed daughter. It’s a very charming short with elements of humor with Steadman as the hairdresser and Thewlis as the young man who often spouts jokes. The short also includes a feature-length commentary track from Leigh where he talks about the short and performances. Most notably about the fact that it was Leigh’s first 35mm film since 1971’s Bleak Moments which would make him return to feature films. It’s a wonderfully witty commentary on Leigh who talks about the production and his emphasis into making this great short.

The DVD set includes a booklet that features two different essays about the film. The first is Desperate Days by British film critic David Malcolm. Malcolm talks about the film’s brilliance as well as the complexity of the characters in the dreary setting the film is in. Malcolm also talks about the fact that Leigh is critical to both men and women in this film while also being sympathetic to some of those characters with the exception of Jeremy. Malcolm’s essay is truly intriguing over the film that he believes is one of the best films to come out of Britain.

The second is essay entitled The Monster We Know from New York City film critic Amy Taubin. Taubin’s essay is about the film’s supposed misogyny which she believes is false as she focuses on Johnny and his behavior towards women which she thinks is much more complex. She also talks about Jeremy who is much more brutal and comes from a very different world from Johnny as Taubin’s essay is very compelling about the film’s study of men and their flaws. The overall work on the DVD is phenomenal as is it something that fans of Leigh should own.

***End of DVD Tidbits***

Naked is a brutal, confrontational, yet intelligently viable masterpiece from Mike Leigh led by David Thewlis' worldly performance. It is among one of Leigh's best films as well as his most confrontational about society and alienation. Still, this is not a film that is easy to watch but with repeated viewing, it becomes more understanding. Though many may not agree with the actions of the protagonists or Leigh's existential views, it is one of the most profound and powerful films of British cinema.

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

(C) 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