Tag Archives: Hugh Bonneville

Downton Abbey (2019, Michael Engler)

I’m trying to decide if Downton Abbey is wholly incomprehensible to someone who didn’t watch the television show, or if they’d appreciate it. Julian Fellowes’s screenplay is very tidy, no loose strings, always the right mix between A, B, and C plots, so one can at least appreciate the pacing without knowing exactly why it’s so especially funny when footman Kevin Doyle makes a fool of himself in front of the King and Queen, but one would still get the surface humor. Downton’s got a bunch of great surface humor, including Maggie Smith and Penelope Wilton, which is a rather impressive feat for Fellowes, Smith, Wilton, and director Engler because the film doesn’t do any setup. There’s not just very little ground situation establishing going on, there’s none. The movie opens with the hook—the King and Queen send a letter to Downton Abbey, let’s watch the letter get there via 1920s transportation, oh, how lovely and quaint, thanks to Ben Smithard’s gorgeous photography (they go Panavision for the movie, which is full of lingering shots on the country house itself, also showing off the increased helicopter budget)—plus the letter getting to the town and the familiar sights before the house itself. Maybe, with the quaintness, the lovely photography, and John Lunn’s always very effective theme… an unfamiliar could get in the right mood.

Because while it’s impressive how successfully Fellowes writes the almost two hours, with the fifteen or twenty person principal cast, it’s not a surprise he’d accomplish it. Fellowes wrote many years of the show, including some extended length holiday specials. Downton Abbey: The Movie feels very much like a very special holiday episode. There’s not a lot of progress from when the show ended, at least not in terms of new cast. There aren’t any new regulars, there are a lot of previously emphasized, sort of unresolved subplots examined—Sophie McShera still hasn’t decided if she’s getting married, Robert James-Collier’s still miserable in the closet, and… um. Okay, maybe there’s not a lot on that front. But James-Collier gets one of the bigger B plots, and McShera’s got a solid C. The only reason James-Collier’s subplot, involving actual romance for him, isn’t an A plot is Fellowes keeps it on low until the third act when he needs some drama to juxtapose with the chaos at the royal dinner. It’s a very smart script, just self-indulgent enough, just pleasant enough.

Is it particularly ambitious? No. The biggest A plot—besides everyone in the movie preparing for the royal visit in one way or another—is Allen Leech. Leech gets to do the “Irishman under investigation” subplot and he gets to do a “maybe the widower finally move on” subplot. Laura Carmichael gets a solid B plot. Michelle Dockery, however, is seated at the “here to support other people’s plots with none of my own” table, along with Hugh Bonneville and Elizabeth McGovern. There are good moments for everyone and all the acting is good, they just don’t get anything special to do. No heavy lifting.

Though Dockery does get a little at the end, as she’s the one who gets to have the big moment with Maggie Smith. In its last few minutes, Downton: The Movie unintentionally reveals its great potential would not have been as an extended, Cinemascope holiday special, but as something from Smith’s perspective. The ambition isn’t there though. The film’s got just the right amount of fan service as well as new material.

Technically the only complaint is, occasionally, Engler chooses the wrong character to—literally—focus on in a shot. It’s like he doesn’t have the right sense of some scenes’ emotionality. And, of course, it’s over too soon. It’s not too short. But it is over too soon.

2.5/4★★½

CREDITS

Directed by Michael Engler; written by Julian Fellowes; director of photography, Ben Smithard; edited by Mark Day; music by John Lunn; production designer, Donal Woods; produced by Fellowes, Gareth Neame, and Liz Trubridge; released by Focus Features.

Starring Laura Carmichael (Lady Edith), Allen Leech (Tom Branson), Michelle Dockery (Lady Mary Talbot), Maggie Smith (Violet Crawley), Elizabeth McGovern (Cora Crawley), Hugh Bonneville (Robert Crawley, Earl of Grantham), Penelope Wilton (Isobel Merton), Phyllis Logan (Mrs. Hughes), Jim Carter (Mr. Carson), Robert James-Collier (Thomas Barrow), Joanne Froggatt (Anna Bates), Brendan Coyle (Mr. Bates), Sophie McShera (Daisy Mason), Lesley Nicol (Mrs. Patmore), Michael Fox (Andy Parker), Raquel Cassidy (Miss Baxter), Kevin Doyle (Mr. Molesley), Harry Hadden-Paton (Bertie Hexham), Imelda Staunton (Maud Bagshaw), Tuppence Middleton (Lucy Smith), Kate Phillips (Princess Mary), Geraldine James (Queen Mary), Simon Jones (King George V), Max Brown (Richard Ellis), Stephen Campbell Moore (Captain Chetwode), Susan Lynch (Miss Lawton), David Haig (Mr. Wilson), Mark Addy (Mr. Bakewell), Philippe Spall (Monsieur Courbet), and Richenda Carey (Mrs. Webb).


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Blow Dry (2001, Paddy Breathnach)

At ninety minutes and change, Blow Dry is too short. Given the complexities of the ground situation’s character relationships and then the character’s arcs throughout the picture, it could easily run two and a half hours.

The concept, which at first blush seems sensational but turns out not to be, has Natasha Richardson and Rachel Griffiths as a couple who own a salon in a small English town. Alan Rickman–as Richardson’s ex-husband–has a barber shop with their son, played by Josh Hartnett. Rickman doesn’t speak to the two women (whose business is next to his) and Hartnett’s got a dysfunctional relationship with both parents, not to mention Griffiths.

The beauty parts of Blow Dry come when these characters have to get together and sort it out. Sadly, it only happens once as a group but it’s an amazing scene. The little scenes when a couple come together are always good, but there’s never enough of it. The film’s MacGuffin is a hair cutting competition in the small town and a lot of time goes towards it. Too much, but those scenes are still pretty well done.

They just aren’t sublime.

Richardson and Griffiths are outstanding. Rickman’s good (though he has little to do). Hartnett occasionally loses his accent, but his earnestness holds the performance together. As the bad guy hair dresser, Bill Nighy is great. As Nighy’s daughter (and Hartnett’s love interest), Rachael Leigh Cook is awful.

It’s busy and loud but quite funny and genuinely sincere.

2.5/4★★½

CREDITS

Directed by Paddy Breathnach; written by Simon Beaufoy; director of photography, Cian de Buitléar; edited by Tony Lawson; music by Patrick Doyle; production designer, Sophie Becher; produced by William Horberg, Ruth Jackson and David Rubin; released by Miramax Films.

Starring Natasha Richardson (Shelley), Alan Rickman (Phil), Rachel Griffiths (Sandra), Josh Hartnett (Brian), Bill Nighy (Ray Robertson), Hugh Bonneville (Louis), Rachael Leigh Cook (Christina Robertson), Warren Clarke (Tony) and Rosemary Harris (Daisy).


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Burke & Hare (2010, John Landis)

I don’t know how Landis could have a more indistinct return to feature directing than Burke & Hare. The film manages to be completely professional in all aspects–though the use of The Proclaimer’s “I’m Gonna Be (500 Miles),” so well identified with Benny & Joon, is questionable. There are occasional Landis touches, but nothing really approaching any personality for the film or its characters.

The script goes to rehabilitate the image of the historic murderers Burke and Hare by making them lovable, funny men, so there’s not much for the film to do. But it doesn’t even do what its conclusion implies. For a ninety minute film, there’s a lot going on–besides the titular characters murdering people to supply cadavers, there’s a competition between two surgeons (a wonderful Tom Wilkinson and a goofy Tim Curry) and then Burke’s romance of a dance hall girl (or whatever they were called in 1820s Scotland).

As Burke, Simon Pegg is a secondary character until the movie’s half over. The first half is spent mostly on Andy Serkis’s Hare. Pegg does well in his scenes with love interest Isla Fisher (who’s occasionally good and always genial) but his scenes with Serkis don’t work. Serkis isn’t a movie star, Pegg is. There’s something off in the chemistry.

Jessica Hynes is good as Serkis’s wife, Michael Smiley’s excellent as Wilkinson’s sidekick… there really aren’t any bad performances.

Landis shoots it Panavision, which seems a little much. The film is still cramped.

It’s inoffensively without any value.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by John Landis; written by Piers Ashworth and Nick Moorcroft; director of photography, John Mathieson; edited by Mark Everson; music by Joby Talbot; produced by Barnaby Thompson; released by Entertainment Film Distributors.

Starring Simon Pegg (William Burke), Andy Serkis (William Hare), Isla Fisher (Ginny), Tom Wilkinson (Dr. Knox), Jessica Hynes (Lucky Hare), Tim Curry (Dr. Monroe), Michael Smiley (Patterson), Ronnie Corbett (Captain McLintock), David Schofield (Fergus), David Hayman (Danny McTavish), Allan Corduner (Nicephore), Hugh Bonneville (Lord Harrington), Bill Bailey (Hangman), with John Woodvine (Lord Provost), Jenny Agutter (Lucy) and Christopher Lee (Old Joseph).


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Piccadilly Jim (2004, John McCay)

Not too long ago, I used to get excited when good actors would make movies together. They didn’t have to be great movies, Barbet Schroeder could have directed them or Sandra Bullock could have starred in them–I’m fairly certain this period was known as the 1990s. It’s taken me three years to see Piccadilly Jim, which never got a domestic release, so it’s not as far out of the 1990s as it could be. It’s an absurd comedy, using an overblown emphasis on the popular conceptions of the 1930s to attempt to endear itself on the audience. Essentially, it’s the same concept as Radioland Murders, only successful. It’s successful for a few reasons. I’ll get the least exciting ones out of the way. First, the scope. Whether it’s London or New York of the 1930s, the scope is wonderful. There’s some extra-glossy, CG-enhanced scenery, but mostly it’s interiors. McKay does it beautifully. It’s exploitative, how interesting he makes the film look. It’s probably to distract from how confusing it is to understand and how unbelievable it is. Second, the script. Julian Fellowes essentially takes a Marx Brothers movie, removes the Marx Brothers, removes the songs, changes the focus to the young couple in trouble and runs with it. He assigns the Marx Brothers’s tasks to the young couple, it’s an interesting way of doing it and it works. Of course, it might have worked that way in the source material. I don’t know.

Now, the gushy part. While Piccadilly Jim is not the finest exhibit of Sam Rockwell’s acting abilities, it’s fun. He’s funny, he immediately engages the viewer. It probably was not a hard role, but he does it perfectly. Frances O’Connor, who’s constantly appearing and disappearing from cinema–rather frustratingly–is fantastic. Watching her and Rockwell together, the verbal sparing, the rapid-fire back and forths, it’s wonderful. Her role ought to be impossible, because it’s so absurd, but she really makes it work. The other great performance is Tom Wilkinson. He and Rockwell as father and son is great to watch, because it’s probably Rockwell’s talent at something besides being charming in an odd way comes through. The only disappointing performance–Allison Janney is fine but nothing spectacular–is Brenda Blethyn. O’Connor plays an American and she’s great, but Blethyn seems like she’s uncomfortable doing it (odd, Piccadilly Jim‘s a British with Americans playing Americans and British playing Americans and whatever, never mind). She’s not having any fun. It might be the constraints of the character, but it’s Brenda Blethyn. She’s usually outstanding.

I wasn’t expecting much from Piccadilly Jim because it never got the U.S. release and, in an interview at the time, Rockwell didn’t seem very excited about it. But it really reminded me, movies can be fun and intelligent and good without necessarily being great. The sad thing, of course, is in the 1990s, Piccadilly Jim was closer to the norm than not.

3/4★★★

CREDITS

Directed by John McCay; screenplay by Julian Fellowes, from the novel by P.G. Wodehouse; director of photography, Andrew Dunn; edited by David Freeman; music by Adrian Johnston; production designer, Amanda McArthur; produced by Graham Broadbent, Peter Czernin and Andrew Hauptman; released by United International Pictures.

Starring Sam Rockwell (Jim Crocker), Frances O’Connor (Ann Chester), Tom Wilkinson (Bingley Crocker), Brenda Blethyn (Nesta Pett), Allison Janney (Eugenia Crocker), Austin Pendleton (Peter Pett), Hugh Bonneville (Lord Wisbeach), Tom Hollander (Willie Partridge), Geoffrey Palmer (Bayliss), Rupert Simonian (Ogden Ford) and Kevin Eldon (Wizzy).


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