I reckon that this is the sort of movie that gets film students all excited. There are so many levels to this flick that you could probably go on for days pulling apart and examining the different characters, relationships and commentaries. But I recommend you watch this film purely for entertainment purposes - it's great. The actors are believable, the story is simplistic (yet so effective) and the period touches are great - because this is essentialy a period drama (the period being very firmly in the 1970s). For a film to have such little plot yet remain so compelling is testament to each and every element that makes up this movie. Watch it.
37 Reviews
Tragedy of Manners
JamesHitchcock23 October 2020
Warning: Spoilers
Mike Leigh wrote of the television version of his play that "There is no piece of work for which I have been responsible as director by which I'm embarrassed, apart from "Abigail's Party' ". His self-criticism was not the most common criticism made by others, most famously at the time by the playwright Dennis Potter and repeated on this board, namely that his treatment of his characters is snobbish and patronising. Leigh saw himself as a film-maker and "Abigail's Party" as not being a film in its own right, but a film of a play which did not work on television in the same way as it did on stage. Leigh had devised the play himself and directed a production at the Hampstead Theatre a few months before its television debut in November 1977 as part of the BBC's "Play for Today" series.
Beverly Moss, a suburban East London housewife, and her estate agent husband Laurence have invited their neighbours Angela and Tony (a married couple) and Sue (a divorcee) over for drinks. The titular Abigail never appears; she is Sue's fifteen-year-old daughter who is holding a party, from which Sue is a refugee, at home. The gathering starts off with polite chit-chat, but as the evening progresses the strains, especially in the marriage between Beverly and Laurence but also in that between Angela and Tony, become more and more apparent.
Much of the discussion of the play has centred upon Beverly, played by Alison Steadman who at the time was married to Leigh. She has been described as a "monster", and is certainly loud, opinionated and insensitive about the feelings of others, especially Laurence. Many of her problems are rooted in a sense of social insecurity; she is originally from a working-class background, indicated by her strong Essex accent, but regards herself as having joined the middle classes after her marriage to a white-collar executive, and has enthusiastically adopted what she regards as being middle-class tastes and values.
Many of her arguments with Laurence arise out of their differing cultural values. Watching the play recently I was reminded of now-forgotten seventies figures such as Demis Roussos (a Greek pop singer noted for his ample girth and falsetto voice) and Stephen Pearson (a kitschy surrealist artist, a sort of pound-shop Salvador Dali), both of whom Beverly adores. Pearson's famous (or infamous) painting "Wings of Love" plays an important part in the drama. Laurence's tastes run more to Beethoven and Van Gogh, although it is suggested that his cultural pretensions are just that-pretensions. A leather-bound Complete Works of Shakespeare occupies a prominent place in the sitting room, but Laurence admits he has never read them. It may be significant that Laurence is a very small man, shorter than his wife, and his rather defensive manner may arise from a sense of inferiority. His prominent bushy moustache (a popular form of facial hair in the seventies) may be his attempt to reassure himself about his masculinity.
Angela, a nurse, is in some ways a watered-down version of Beverly; she can, for example, be very tactless. Her husband Tony, a former professional footballer, is taciturn and perpetually wears a morose, discontented expression, although when he does speak he is normally polite except when provoked too far. His discontent may derive from the fact that his footballing career did not work out; he now works in computing, doubtless a well-paid job but far less glamorous than life as a professional sportsman. Sue, whose accent suggests that she is from a more genteel background than any of the others, seems timid and uneasy, particularly about the matrimonial bickering of the two couples, which may remind her uncomfortably of the failure of her own marriage.
Despite Leigh's embarrassment with "Abigail's Party", it has long proved one his most popular works and one of the best loved and best remembered "Plays for Today". It has been repeated by the BBC on several occasions, most recently as part of a series commemorating the fiftieth anniversary of "Play for Today". It is remembered both for the quality of the acting and for the sharpness of Leigh's social observations. Steadman's is the performance which most stands out, largely because the larger-than-life Beverly is such a sacred monster, but she receives excellent support from the four other actors, Tim Stern (Laurence), Janine Duvitski (Angela), John Salthouse (Tony) and Harriet Reynolds (Sue).
As for Potter's claim that the play is "based on nothing more edifying than rancid disdain", I just wonder if he saw the same programme as I did. "Abigail's Party" is much more complex than he gave it credit for. It is a sharply observed comedy of manners, although it has serious themes and ends in tragedy. It analyses the complexities of the British class system, touching upon the aspirations of the Beverlys of this world, not quite sure of what they want but knowing that they want something better than what their parents had. It is also, surprisingly, a play about love; underneath it all Laurence and Beverly love each other, even if they are not able to show it. It could be called a tragedy of manners. 9/10
Beverly Moss, a suburban East London housewife, and her estate agent husband Laurence have invited their neighbours Angela and Tony (a married couple) and Sue (a divorcee) over for drinks. The titular Abigail never appears; she is Sue's fifteen-year-old daughter who is holding a party, from which Sue is a refugee, at home. The gathering starts off with polite chit-chat, but as the evening progresses the strains, especially in the marriage between Beverly and Laurence but also in that between Angela and Tony, become more and more apparent.
Much of the discussion of the play has centred upon Beverly, played by Alison Steadman who at the time was married to Leigh. She has been described as a "monster", and is certainly loud, opinionated and insensitive about the feelings of others, especially Laurence. Many of her problems are rooted in a sense of social insecurity; she is originally from a working-class background, indicated by her strong Essex accent, but regards herself as having joined the middle classes after her marriage to a white-collar executive, and has enthusiastically adopted what she regards as being middle-class tastes and values.
Many of her arguments with Laurence arise out of their differing cultural values. Watching the play recently I was reminded of now-forgotten seventies figures such as Demis Roussos (a Greek pop singer noted for his ample girth and falsetto voice) and Stephen Pearson (a kitschy surrealist artist, a sort of pound-shop Salvador Dali), both of whom Beverly adores. Pearson's famous (or infamous) painting "Wings of Love" plays an important part in the drama. Laurence's tastes run more to Beethoven and Van Gogh, although it is suggested that his cultural pretensions are just that-pretensions. A leather-bound Complete Works of Shakespeare occupies a prominent place in the sitting room, but Laurence admits he has never read them. It may be significant that Laurence is a very small man, shorter than his wife, and his rather defensive manner may arise from a sense of inferiority. His prominent bushy moustache (a popular form of facial hair in the seventies) may be his attempt to reassure himself about his masculinity.
Angela, a nurse, is in some ways a watered-down version of Beverly; she can, for example, be very tactless. Her husband Tony, a former professional footballer, is taciturn and perpetually wears a morose, discontented expression, although when he does speak he is normally polite except when provoked too far. His discontent may derive from the fact that his footballing career did not work out; he now works in computing, doubtless a well-paid job but far less glamorous than life as a professional sportsman. Sue, whose accent suggests that she is from a more genteel background than any of the others, seems timid and uneasy, particularly about the matrimonial bickering of the two couples, which may remind her uncomfortably of the failure of her own marriage.
Despite Leigh's embarrassment with "Abigail's Party", it has long proved one his most popular works and one of the best loved and best remembered "Plays for Today". It has been repeated by the BBC on several occasions, most recently as part of a series commemorating the fiftieth anniversary of "Play for Today". It is remembered both for the quality of the acting and for the sharpness of Leigh's social observations. Steadman's is the performance which most stands out, largely because the larger-than-life Beverly is such a sacred monster, but she receives excellent support from the four other actors, Tim Stern (Laurence), Janine Duvitski (Angela), John Salthouse (Tony) and Harriet Reynolds (Sue).
As for Potter's claim that the play is "based on nothing more edifying than rancid disdain", I just wonder if he saw the same programme as I did. "Abigail's Party" is much more complex than he gave it credit for. It is a sharply observed comedy of manners, although it has serious themes and ends in tragedy. It analyses the complexities of the British class system, touching upon the aspirations of the Beverlys of this world, not quite sure of what they want but knowing that they want something better than what their parents had. It is also, surprisingly, a play about love; underneath it all Laurence and Beverly love each other, even if they are not able to show it. It could be called a tragedy of manners. 9/10
What A Great Play!
horseyfly_9122 September 2006
Warning: Spoilers
I am currently taking drama as a gcse subject, and this was a play that we had to watch on t.v in a lesson for our coursework. First of all, the whole class thought it would be rubbish and really boring, but how wrong we were! The film is completely brilliant!! Its, cringing and painful to watch at times, others you want to slap at the characters or shout at them but mainly you're rolling around in laughter! Watching this film was definitely a time well spent, and I can't wait until we see it in the theatre! All the characters are completely annoying in their own way, but no one can top Beverly's squeaky voice, and Tony's violent outbursts! This is definitely a play to recommend!!
Painful & hilarious & agonising
Marty-G15 March 1999
Wow. Abigail's Party - and I am the first person to comment on it? This is certainly an interesting film. In parts it's riotously funny... I mean laugh-out-loud funny... the characters are all obnoxious (except perhaps Sue) with traits that'll make you thank the Lord that they are not your neighbours or friends. The tension just rises and rises through the film... you know it's building up to something big... by the end though it's damn depressing. You hate these characters, you want to shout at them! But the acting is brilliant. Alison Steadman's Beverly full of clichés and tartiness, with a voice that gives you the creeps. Tim Stern (Laurence), the hen-pecked husband, an uptight little weasel and an intellectual snob. Angela (Jane Duvitski), weak and ineffectual, annoying as hell, easily-led, yet comes through the whole thing with more strength than the others. John Salthouse as Tony is a magnificent character, you can feel his anger brewing underneath this quiet exterior. And then there's Susan, played by Harriet Reynolds, whose unseen daughter Abigail is the one having the party. Sue's the one who gets thrown in with all these misfits... poor thing. The setting is claustrophobic, the humour is full on, sometimes though it just gets a little too nasty for words, and leaves a rather bittersweet taste. Funny it may be but it's a bloody painful ride, and though it's looking seriously dated, it's still a fascinating piece of work.
Hilarious and horrific in equal measure
Red-Barracuda30 September 2009
Mike Leigh's teleplay Abigail's Party is a character driven portrait of life in the suburbs in 70's Britain. It's about a drinks party hosted by a couple called Beverley and Laurence, attended by guests Ange and Tony, who have newly moved into the street, and Susan, a neighbour whose teenage daughter Abigail is having her own party at her house that same evening.
This is a party from hell. Beverly and Laurence are two of the most appalling hosts imaginable. While she is overbearing and ignorant, he is highly-strung and pretentious. They are two sides of the same coin though; where she likes throwaway pop music he likes classical, where she is fond of tacky erotic art he prefers fine art. At least Beverly's taste seems genuine, Laurence appears to choose things that makes him feel superior but it all seems purely for show, like his collected works of Shakespeare on which he enthuses about the quality of the jacket material, the contents he describes hilariously as unreadable. As the night progresses this pair of idiots battle amongst themselves in front of their guests creating umpteen squirm-inducing moments. The guests themselves are not much better. Ange is simple-minded and irritating, her husband Tony, taciturn and aggressive, while the third guest, the divorcée Susan, is stiff and stand-offish. Together they have the sort of chemistry that ordinarily in life comes with a toxic warning label.
Class is at the heart of much of the drama. Beverly and Laurence are a middle class suburban couple; Ange and Tony represent the lower-middle class, while Susan inhabits the upper-middle. Part of Beverley's reasoning behind the party is to induct Ange and Tony into her social strata. The latter couple are new to the street and seem to be from a lower income bracket; this allows Beverley to patronizingly take Ange under her wing. Susan, on the other hand, does not need to work as she is supported by her architect ex-husband and while she inhabits a level that Beverly aspires to, she clearly is not a happy woman. She still appears to be traumatized by her divorce and she seems to be very self-conscious in company. Although her discomfort in this social gathering does provide the audience with an identification figure of sorts, as most people would feel thoroughly uncomfortable in this car crash of a get-together.
Alison Steadman is tremendous as Beverly. This extremely well-crafted comic character is the dark soul of Abigail's Party. She is alternately fawning and unpleasant, but always selfish. She bullies her guests into doing exactly what she wants at all times, from insisting that everyone listen to the tacky music of Demis Roussos to forcing Ange and Tony to take cigarettes despite the fact they both are in the process of giving up. She forcefully prevents Susan from leaving to check on her daughter despite fuelling the flames of her paranoia by tactlessly implying that the kids would be running riot next door. Alison Steadman nails this character in a way that is firmly believable, she never descends into caricature. The rest of the cast are generally impressive too, the other standout being Janine Duvitski's portrayal of Ange. Through her various bits of inane dialogue, and her husband's gruff responses, she allows the audience to read between the lines and work out that her marriage is a terrible one but like Beverly she is no one-dimensional caricature, as by the end of the film she is the only character who really comes to the fore and ends the piece with any credit. Well-written dramas often confound expectations in this way.
One of the things I love about Abigail's Party is that it's a real period piece. The fashions, décor and music all scream 1977. But the drama is timeless, as the people are believable and the comic moments still subtly effective. It's the skillful mix of comedy with believable drama that is ultimately the key to its enduring success. The film ends in a very dark tone indeed, with the seemingly strong characters becoming weak and vice-versa. This tragicomedy doesn't play by conventional expectations and perhaps this is partly why it's so good.
This is a party from hell. Beverly and Laurence are two of the most appalling hosts imaginable. While she is overbearing and ignorant, he is highly-strung and pretentious. They are two sides of the same coin though; where she likes throwaway pop music he likes classical, where she is fond of tacky erotic art he prefers fine art. At least Beverly's taste seems genuine, Laurence appears to choose things that makes him feel superior but it all seems purely for show, like his collected works of Shakespeare on which he enthuses about the quality of the jacket material, the contents he describes hilariously as unreadable. As the night progresses this pair of idiots battle amongst themselves in front of their guests creating umpteen squirm-inducing moments. The guests themselves are not much better. Ange is simple-minded and irritating, her husband Tony, taciturn and aggressive, while the third guest, the divorcée Susan, is stiff and stand-offish. Together they have the sort of chemistry that ordinarily in life comes with a toxic warning label.
Class is at the heart of much of the drama. Beverly and Laurence are a middle class suburban couple; Ange and Tony represent the lower-middle class, while Susan inhabits the upper-middle. Part of Beverley's reasoning behind the party is to induct Ange and Tony into her social strata. The latter couple are new to the street and seem to be from a lower income bracket; this allows Beverley to patronizingly take Ange under her wing. Susan, on the other hand, does not need to work as she is supported by her architect ex-husband and while she inhabits a level that Beverly aspires to, she clearly is not a happy woman. She still appears to be traumatized by her divorce and she seems to be very self-conscious in company. Although her discomfort in this social gathering does provide the audience with an identification figure of sorts, as most people would feel thoroughly uncomfortable in this car crash of a get-together.
Alison Steadman is tremendous as Beverly. This extremely well-crafted comic character is the dark soul of Abigail's Party. She is alternately fawning and unpleasant, but always selfish. She bullies her guests into doing exactly what she wants at all times, from insisting that everyone listen to the tacky music of Demis Roussos to forcing Ange and Tony to take cigarettes despite the fact they both are in the process of giving up. She forcefully prevents Susan from leaving to check on her daughter despite fuelling the flames of her paranoia by tactlessly implying that the kids would be running riot next door. Alison Steadman nails this character in a way that is firmly believable, she never descends into caricature. The rest of the cast are generally impressive too, the other standout being Janine Duvitski's portrayal of Ange. Through her various bits of inane dialogue, and her husband's gruff responses, she allows the audience to read between the lines and work out that her marriage is a terrible one but like Beverly she is no one-dimensional caricature, as by the end of the film she is the only character who really comes to the fore and ends the piece with any credit. Well-written dramas often confound expectations in this way.
One of the things I love about Abigail's Party is that it's a real period piece. The fashions, décor and music all scream 1977. But the drama is timeless, as the people are believable and the comic moments still subtly effective. It's the skillful mix of comedy with believable drama that is ultimately the key to its enduring success. The film ends in a very dark tone indeed, with the seemingly strong characters becoming weak and vice-versa. This tragicomedy doesn't play by conventional expectations and perhaps this is partly why it's so good.
A modern classic that explores the social deficiencies of the aspiring middle classes in the 70's...
mentalistom15 April 2001
Abigail's party is a tremendous piece of drama that was originally developed through a process of improvisation. It is hilariously funny but at the same time deeply moving and the tension created on stage is amongst the most painful I have ever witnessed. Mike Leigh, as a director, clearly has an amazing ability to achieve fantastic performances from his actors. The play, about an awkward drinks gathering, hosted by the atrocious Beverley (Alison Steadman), explores the intricacies of the social order in Britain and the pretentious aspirations of the lower middle class. With a heavy dose of Demis Rusoss, quite a few Gin an' Tonics, a cheesy pineapple stick and a dramatic climax - Abigail's Party is a much-watch. It may be a little dated but it still has a cult following and I hear that people today hold Abigail's Party parties:- So it must be good!
love it or hate it you'll never forget it
magicwand44416 October 2007
i was an avid watcher of 'play for today' because the next day at work everybody would talk about it.in the case of abigail's party people still talk about it now.
when the wonderful alison steadman created the social climbing hostess beverly,she created a monster.as she strutted her stuff we cringed.her awful taste in music,her walking all over her husband,her unsubtle attempts to seduce tony,her thanking sue for the bottle of red wine and putting it in the fridge.
when the play was re-screened two years later it captured an audience of 16 million.it has since become a favourite for brave amateur drama groups.my favourite story concerning this is the group that decided to stage the play and use real alcoholic drinks-they never made it to act 2.
when the wonderful alison steadman created the social climbing hostess beverly,she created a monster.as she strutted her stuff we cringed.her awful taste in music,her walking all over her husband,her unsubtle attempts to seduce tony,her thanking sue for the bottle of red wine and putting it in the fridge.
when the play was re-screened two years later it captured an audience of 16 million.it has since become a favourite for brave amateur drama groups.my favourite story concerning this is the group that decided to stage the play and use real alcoholic drinks-they never made it to act 2.
Gin--Vodka--Brandy!
algoyo30 June 2008
The best bit (for me) is when Beverley is putting on Donna Summer's "Love to Love You" and fixing herself a drink at the beginning of the play. She puts the needle on the record and at the same time she opens the drinks cabinet's sliding door directly above her head with her spare hand in a smooth, perfectly performed robotic motion. She then sits to consume her drink and, with the look of a Basilisk, surveys her domain. It is her appearance which really startles. Her red dress is of the finest polyester, but exposes her flesh in unflattering ways. She sometimes looks like a jellyfish, with the tendrils flapping away, or like some monster who has made a dress out of the leftover bits of red meat of her victims. Either way, you are in no doubt that Beverley is the hostess with the mostest. You know you are in for trouble when her husband Lawrence comes in and she pipes up "Hi". It's done in such a dissatisfied, unloving way, that you can see she's going to kill him one way or another.
Entertaining
stevenhope21 March 2017
Entertaining but sometimes uncomfortable to watch. None of the characters are particularly likable - both the husbands are jumped up little bullies, the host is a wannabe social climber, the neighbour is a cold fish and the other woman is simply irritating All in all a though a nice snapshot of 1970 Britain Worth a watch
A '70s classic that is both hilarious and cringe inducing at the same time
Tweekums20 August 2019
This '70s classic is set in an ordinary suburban home where Beverly, and husband Laurence have invited new neighbours, Angela and Tony, round for drinks; also invited is another neighbour, single mother Sue, whose fifteen year old daughter, Abigail, is having a party. At first just Beverly is there, then Laurence returns from work; it soon becomes clear that he will have to pop out for work and to get some beer... these early exchanges make it clear that Beverly is the dominant partner. While he is out Angela and Tony arrive; she seems eager to agree with any suggestion and he is distinctly taciturn; the drinks start to flow. Soon after Sue arrives, a more reserved character who clearly feels uncomfortable. As the evening progresses, and more drink is consumed tensions start to simmer and finally snap.
This TV play is still a delight over forty years after its first broadcast. Its characters may be slightly exaggerated... but only slightly. There are plenty of laughs to be had but it is also painfully embarrassing to watch at times. The cast does a great job bringing their characters to life. Most memorable is Alison Steadman's portrayal of Beverly; a delightfully over-the-top personality who is cringe inducing... the way she insists on topping up drinks and nit-picking at her husband. Tim Stern is solid as the hen pecked husband, a snob who believes himself to be cultured but let's things slip when he shows off his beautifully bound copies of Shakespeare only to claim they are unreadable. Janine Duvitski is fun as the mousy Alison. John Salthouse is great as Tony; a character who seems to be very uncomfortable and may be seething with rage just under the surface, something that is often expressed without a word. Finally Harriet Reynolds impresses as Sue; the most normal character who can in some ways be seen as a viewer avatar as we feel the discomfort she feels as the others perform around her. The way we stay almost entirely within one room adds to the sense of claustrophobia; we may want to get out but we can't. Overall I'd definitely recommend this; it may be embarrassing at times but it is also very funny.
This TV play is still a delight over forty years after its first broadcast. Its characters may be slightly exaggerated... but only slightly. There are plenty of laughs to be had but it is also painfully embarrassing to watch at times. The cast does a great job bringing their characters to life. Most memorable is Alison Steadman's portrayal of Beverly; a delightfully over-the-top personality who is cringe inducing... the way she insists on topping up drinks and nit-picking at her husband. Tim Stern is solid as the hen pecked husband, a snob who believes himself to be cultured but let's things slip when he shows off his beautifully bound copies of Shakespeare only to claim they are unreadable. Janine Duvitski is fun as the mousy Alison. John Salthouse is great as Tony; a character who seems to be very uncomfortable and may be seething with rage just under the surface, something that is often expressed without a word. Finally Harriet Reynolds impresses as Sue; the most normal character who can in some ways be seen as a viewer avatar as we feel the discomfort she feels as the others perform around her. The way we stay almost entirely within one room adds to the sense of claustrophobia; we may want to get out but we can't. Overall I'd definitely recommend this; it may be embarrassing at times but it is also very funny.
Middle class mayhem
philiposlatinakis24 August 2020
Just saw this for the first time in twenty odd years. It wasn't as good as I remembered. A bit too simplistic. There's no plot really. The characters developed very slowly. I laughed once. Alison Steadman was very good, and the the rest of the cast was adequate. This is not the great work of art some people are making it out to be. It's just ok. Still, it was enjoyable to watch the horror show of a party unravel and the middle classes being exposed as basically trash.
Absolutely wonderful, but it made me cringe
helenandbrian8 November 2010
My parents had told me about this many times in the past, but last night when it was back on television was the first time I had ever seen it.
How fantastic! Classic Mike Leigh - incredibly funny, but at the same time really dark. A very British comedy - the idea that as the plot progresses, the knives are out and everyone's character is slowly assassinated. It's what we Brits do so well (if it's actually something of which to be proud!) - comedy that rejoices not just in others' misfortune, but ultimately in their total psychological destruction.
And what relentlessly horrible characters! There were times when it made me cringe so much, I had to leave the room.
How fantastic! Classic Mike Leigh - incredibly funny, but at the same time really dark. A very British comedy - the idea that as the plot progresses, the knives are out and everyone's character is slowly assassinated. It's what we Brits do so well (if it's actually something of which to be proud!) - comedy that rejoices not just in others' misfortune, but ultimately in their total psychological destruction.
And what relentlessly horrible characters! There were times when it made me cringe so much, I had to leave the room.
Brilliant setting
peefyn19 February 2017
I wish I could rate this higher, but there are parts of it that holds the whole production a bit back.
To start with the good stuff, I love the setting. The party next to the party, the older, unhappy people trying to have fun, next to the young and carefree. It's a great set up for allowing the actors to become human characters, as the back drop acts as a constant reminder of what kind of life they're not living, and not having any more. How they themselves are becoming something other than they wanted to be. Their unhappiness comes through well in their acting, but even more so because of the neighboring party.
And the characters are also really good. They're all very different, but they're more than arch types. I'm sure the actors playing the parts got a lot of freedom in how to shape the characters, because they all seem to fit them perfectly.
With this great back drop, and interesting characters, the whole movie/play ought to be fantastic. And much of it is, with the banter, the conversations, everything said and unsaid. But where the movie falls apart, is where it tries to be dramatic. The ending felt really out of place, and seems more like a way to end the play. There's also a certain sequence with a knife (not much of a spoiler) that feels completely unbelievable. These "plot points" just ruins the realism. The movie still holds up well, but it's a pity that they felt the need to go that far.
To start with the good stuff, I love the setting. The party next to the party, the older, unhappy people trying to have fun, next to the young and carefree. It's a great set up for allowing the actors to become human characters, as the back drop acts as a constant reminder of what kind of life they're not living, and not having any more. How they themselves are becoming something other than they wanted to be. Their unhappiness comes through well in their acting, but even more so because of the neighboring party.
And the characters are also really good. They're all very different, but they're more than arch types. I'm sure the actors playing the parts got a lot of freedom in how to shape the characters, because they all seem to fit them perfectly.
With this great back drop, and interesting characters, the whole movie/play ought to be fantastic. And much of it is, with the banter, the conversations, everything said and unsaid. But where the movie falls apart, is where it tries to be dramatic. The ending felt really out of place, and seems more like a way to end the play. There's also a certain sequence with a knife (not much of a spoiler) that feels completely unbelievable. These "plot points" just ruins the realism. The movie still holds up well, but it's a pity that they felt the need to go that far.
Questionable Social Commentary
Rathko28 February 2005
Abigail's Party is a terrifying time capsule of English suburbia in the 1970's. Whilst watching it I kept cringing in embarrassment as I noticed the furniture, rugs, and tacky paraphernalia of my childhood home held up for derision. And ultimately, that's the problem that I have with this play.
I fully support the idea of satirising the kind of lower-middle class selfish, delusional pretencions that Margaret Thatcher exploited with such horrible effectiveness. These people, ashamed and greedy, were so busy trying to hide their working class origins and fool their 'detached house with two bathrooms' neighbours that they were to the manor born, that they gladly turned a blind eye when Thatcher erased the shipyards and steelworks and mines from the English landscape. These people deserve all the criticism that can be thrown at them. Unfortunately, I feel that Mike Leigh goes about it the wrong way.
There's always something a little patronising, a little condescending, about Leigh's vision of the English working class. At the same time that we are invited to shed tears over the plights of his uneducated, uncultured anti-heroes, we're also invited to laugh at them and their bad taste and poor manners. Leigh always comes across as a well-meaning middle-class liberal who wants to somehow preserve a Victorian Socialist's idea of the nobility of the poor. And I'm just not buying it.
There is nothing inherently noble about being poor and uneducated. Similarly, there is nothing inherently funny about being poor and uneducated. Nor is there anything inherently bad about NOT wanting to be poor and uneducated. In Abigail's Party, the characters are, without doubt, loathsome and self-delusional individuals. But Leigh seems equally horrified not only by the idea of the working class lifting themselves out of poverty, but by their attempts to access the symbols of education that have been denied them; Shakespeare and Fine Art. A working class male showing an interest in art, however naively, should not be an inherently funny, outrageous, or contemptible idea, yet Leigh presents it as such.
The performances are universally sound, albeit caricatures, and Steadman's Beverley has become an icon of sorts. The obsessive minutiae of English class distinction, though requiring translation for any foreign audience, is a subject worthy of study, but Abigail's Party never fails to leave a bad taste in my mouth and makes me question Mike Leigh's delusional motivation as much as that of his characters.
I fully support the idea of satirising the kind of lower-middle class selfish, delusional pretencions that Margaret Thatcher exploited with such horrible effectiveness. These people, ashamed and greedy, were so busy trying to hide their working class origins and fool their 'detached house with two bathrooms' neighbours that they were to the manor born, that they gladly turned a blind eye when Thatcher erased the shipyards and steelworks and mines from the English landscape. These people deserve all the criticism that can be thrown at them. Unfortunately, I feel that Mike Leigh goes about it the wrong way.
There's always something a little patronising, a little condescending, about Leigh's vision of the English working class. At the same time that we are invited to shed tears over the plights of his uneducated, uncultured anti-heroes, we're also invited to laugh at them and their bad taste and poor manners. Leigh always comes across as a well-meaning middle-class liberal who wants to somehow preserve a Victorian Socialist's idea of the nobility of the poor. And I'm just not buying it.
There is nothing inherently noble about being poor and uneducated. Similarly, there is nothing inherently funny about being poor and uneducated. Nor is there anything inherently bad about NOT wanting to be poor and uneducated. In Abigail's Party, the characters are, without doubt, loathsome and self-delusional individuals. But Leigh seems equally horrified not only by the idea of the working class lifting themselves out of poverty, but by their attempts to access the symbols of education that have been denied them; Shakespeare and Fine Art. A working class male showing an interest in art, however naively, should not be an inherently funny, outrageous, or contemptible idea, yet Leigh presents it as such.
The performances are universally sound, albeit caricatures, and Steadman's Beverley has become an icon of sorts. The obsessive minutiae of English class distinction, though requiring translation for any foreign audience, is a subject worthy of study, but Abigail's Party never fails to leave a bad taste in my mouth and makes me question Mike Leigh's delusional motivation as much as that of his characters.
A British TV Gem
colinwjw27 February 2000
I saw this first time round, and it's a once seen/never forgotten experience. Yes, THAT good. The TV version has the feel of the stage play it was, with all the action taking place in the living room of the obnoxious Beverly and her equally obnoxious husband.
In the first few seconds, Beverly, expecting the arrival of her guests, puts on the Donna Summer record Love To Love You Baby (which SHE likes, to hell with what the guests might like). Only it isn't Donna Summer, but one of those cheap 49 pence Woolworth cover version albums so prevalent in the seventies. Immediately, the mood is set.
The amazing thing about this play is that one feels throughout that one is intruding on what one should not be seeing. There is definitely that fly on the wall feel, but just try and look away. This is compelling viewing, no matter how far your eyes widen - and they will - as things progress. Even the more subtle touches (such as Angie's tight necklace, with the heart pendant that bobs up and down as she speaks) add light humor to the pervasive dark humor. There are too many classic moments in this one-off to even list, that good it is. This is a British TV gem.
In the first few seconds, Beverly, expecting the arrival of her guests, puts on the Donna Summer record Love To Love You Baby (which SHE likes, to hell with what the guests might like). Only it isn't Donna Summer, but one of those cheap 49 pence Woolworth cover version albums so prevalent in the seventies. Immediately, the mood is set.
The amazing thing about this play is that one feels throughout that one is intruding on what one should not be seeing. There is definitely that fly on the wall feel, but just try and look away. This is compelling viewing, no matter how far your eyes widen - and they will - as things progress. Even the more subtle touches (such as Angie's tight necklace, with the heart pendant that bobs up and down as she speaks) add light humor to the pervasive dark humor. There are too many classic moments in this one-off to even list, that good it is. This is a British TV gem.
one of the great Plays for Today that has grown from TV
didi-58 November 2007
It seems superfluous to say anything about 'Abigail's Party', as it made such an impact when first shown on 'Play for Today', and continues to do so.
Mike Leigh moved on to devise and direct many feature films, always in collaboration with his actors. Then-wife Alison Steadman was a frequent collaborator, but this was the role which made her name. As Beverly she is truly horrendous, the typical embodiment of middle-class suburbia, with kitchen gadgets she doesn't know how to use and dubious taste in music (Demis Roussos, Tom Jones ...).
Abigail of course is never seen, but her party is heard as a background to Beverly and Laurence's soirée while worried mum Sue sits awkwardly with her constant top ups of gin and tonic. Neighbours Angela and Tony are an echo of the couple visiting George and Martha in 'Who's Afraid of Virgina Woolf?'
The genius of 'Abigail's Party' is its sharp dialogue, its acid wit, and the power it has to amuse us, make us cringe, and ultimately shock us. Unmissable and unforgettable.
Alison Steadman ... Beverly
Tim Stern ... Laurence
Janine Duvitski ... Angela
John Salthouse ... Tony
Harriet Reynolds ... Susan
Mike Leigh moved on to devise and direct many feature films, always in collaboration with his actors. Then-wife Alison Steadman was a frequent collaborator, but this was the role which made her name. As Beverly she is truly horrendous, the typical embodiment of middle-class suburbia, with kitchen gadgets she doesn't know how to use and dubious taste in music (Demis Roussos, Tom Jones ...).
Abigail of course is never seen, but her party is heard as a background to Beverly and Laurence's soirée while worried mum Sue sits awkwardly with her constant top ups of gin and tonic. Neighbours Angela and Tony are an echo of the couple visiting George and Martha in 'Who's Afraid of Virgina Woolf?'
The genius of 'Abigail's Party' is its sharp dialogue, its acid wit, and the power it has to amuse us, make us cringe, and ultimately shock us. Unmissable and unforgettable.
Alison Steadman ... Beverly
Tim Stern ... Laurence
Janine Duvitski ... Angela
John Salthouse ... Tony
Harriet Reynolds ... Susan
A brilliantly cringe-worthy comedy of manners
dr_clarke_29 January 2021
Warning: Spoilers
Mike Leigh's 1977 Play for Today 'Abigail's Party' has proved rather enduring. A satire on the (then) British middle classes, it started life as a theatre production (and has been revived several times in the format in the twenty-first century) before being transferred into a television studio with most of the original cast and Leigh at the helm. The resulting has been repeated several times and was included on the BFI's list of the 100 greatest British television programs, despite the fact that Leigh himself isn't terribly fond of this particular version.
The plot of 'Abigail's Party' sees Alison Steadman's Beverly throwing a small party with her workaholic husband Laurence, and neighbours Angela and her husband Tony, and Sue as the guests. A few doors down, Sue's daughter Abigail throws her own eponymous party, which we never see but occasionally hear. Set firmly in suburbia, the play sees Leigh targeting the new middle classes, who have risen from the working classes thanks to successful careers and - in Beverly's case - acquired pretentions but no taste. Given Leigh's propensity for social realism in many of his films, one wonders if it is a sneering condemnation of class betrayal, with the writer-director lampooning a lifestyle to which the characters clearly aspired.
It's a cringe-worthy comedy of manners, with misplaced and unjustified snobbery, vapid commentary from the characters on society in general, and a sense that the comfortable suburban lifestyle that they have achieved has a hollow core beneath a paper-thin veneer of respectability. Beverly is awful, but like all the characters entirely believable. She uses her sheer force of personality to inflict her tastes and opinions on others, or at least to dismiss theirs, and seems to delight in pointing out what she sees as the failings of others, whilst sagely voicing cautionary tales about her own past. She flirts with Tony and constantly snipes with Laurence, whilst seeking to score points over him. As their bickering increases, the atmosphere becomes increasingly awkward, with Sue especially embarrassed.
Sue spends most of the story worrying about Abigail's party to the extent that anxiety makes her vomit and is the most sympathetic character in the play. Laurence is pompous and frequently obnoxious; having expressed his dislike for increasing cosmopolitanism, Laurence then starts showing off his Shakespeare collection, declaring it "part of our heritage" and then talking about feudal lords. The air-headed Angela asks intrusive personal questions due to a lack of intelligence or guile (although she leaps into efficient action when her nursing skills are required), and the sullen Tony is clearly irritated by his wife's conversation, especially when she vapidly reveals details of their relationship. Actor John Salthouse gives him the impression of brimming with controlled anger; Angela later casually notes that he is "very quick-tempered", although not violent, even though he seems to come close to hitting her at one point.
The cast is excellent: in addition to Steadman and Salthouse, Tim Stern and Janine Duvitski are utterly convincing as Laurence and Angela, as is Harriet Reynolds as Susan. Sharply observed though the script is, the performances are equally reliant on physical acting: the dance scene - as Beverly dances very closely with Tony and Laurence dances awkwardly with the much taller Susan - is painfully embarrassing, the actors giving entirely believable performances. Events become more dramatic at the climax, as Laurence suffers a fatal heart-attack: everybody springs into action, except for Beverly, who looks anguished, pours another drink, and tells Angela "I told him this would happen", but then adding "not at this age"... She's still listing his faults as he dies. Inevitably, her last words to him before his heart attack were "drop dead".
If there's a flaw with 'Abigail's Party' it is one that Mike Leigh has himself bemoaned: he considers it to be badly shot and he's quite right. Clearly a studio-bound production, it is less a television adaptation of a stage play and more filmed theatre; it works not because it is well directed, but because of the cast and the script. But its strengths outweigh its failings: over the course of its almost two-hour run time, it is alternately funny and tragic, and intentionally cringe-worthy to watch. It remains entirely deserving of its reputation.
A tour de force for Steadman who still leaves a big impression as Beverly
Colbridge22 September 2021
This was the television play that put Alison Steadman and director Mike Leigh on the map and in the consciousness of the British public. It proved to be a landmark in British drama due to the improvised nature of the piece. Leigh and Steadman were also married to each other from 1973 to 2001 and have both consistently produced acclaimed bodies of work throughout their careers in the 44 years since.
Abigail's Party is a tour de force for Steadman who plays Beverly, a nightmare dinner party host, who invites friends over for a drink while one of the guests' teenage daughters are having a party. Relationships get tested and things begin to unravel as the evening wears on in this acutely observed exercise in social manners.
From this you can see Leigh is an actor's director as he puts them and their raw emotions center stage, encouraging each actor to create their own character and manages to get nuances out of them that a confined script probably wouldn't have. The end result is a compelling, amusing and toe curling comedy drama that has stood the test of time, despite being firmly rooted in style to the 1970's when it was made.
Beverly thinks she is sophisticated and aspires to better things but in the process she shows no empathy for her stressed husband or sympathy for her neurotic neighbour, for her it's all about the facade and being something she is not.
It certainly left a big impression on the British public at the time as millions tuned in by default due to a strike on ITV so viewers had limited choice to what they could watch but what they found was a guilty pleasure that has been enjoyed by audiences ever since and remains in the BFI Top 20 TV programmes of all time.
Abigail's Party is a tour de force for Steadman who plays Beverly, a nightmare dinner party host, who invites friends over for a drink while one of the guests' teenage daughters are having a party. Relationships get tested and things begin to unravel as the evening wears on in this acutely observed exercise in social manners.
From this you can see Leigh is an actor's director as he puts them and their raw emotions center stage, encouraging each actor to create their own character and manages to get nuances out of them that a confined script probably wouldn't have. The end result is a compelling, amusing and toe curling comedy drama that has stood the test of time, despite being firmly rooted in style to the 1970's when it was made.
Beverly thinks she is sophisticated and aspires to better things but in the process she shows no empathy for her stressed husband or sympathy for her neurotic neighbour, for her it's all about the facade and being something she is not.
It certainly left a big impression on the British public at the time as millions tuned in by default due to a strike on ITV so viewers had limited choice to what they could watch but what they found was a guilty pleasure that has been enjoyed by audiences ever since and remains in the BFI Top 20 TV programmes of all time.
A Snap Shot of 1970's Britain
flugluftholgate28 October 2007
This 'Play for Today' is brilliant, I remember watching them and this one inparticular. If I remember right it would have been a Saturday night. I did not relise the social signifcance of the play until years later when it clicked and I realised it mirrored my loony family! My Mother, Aunties and Grandmother would hold 'do's' like this, and the spoke like it as well, complete and utter 'boredoom'. The discussions would centre on each other kids (My Cousins and me), the latest car in the family, the furniture (usually from 'Habicrap' or G-Plan). One social yard stick was how many bottles of spirit and booze could be collected and stored. The yucky '70's wall paper, ornaments and 'suites', egh, I can see why men, like me son's of women like this, of a certain age got hobbies around this time that stayed with them when they got married. The other subject discussed was jobs and it would end up in a heated discussion of who had the best and most paid. I can see why home computers and the invention of Satellite TV came about, to escape this moronic '70's life. A brilliant film that reminds one how bad it was. Oh, Alison is gorgeous...
Abigail's Party
Prismark1016 October 2020
You know, in 1985 Demis Roussos was on a plane that was hijacked by Hezbollah terrorists. He sang to his fellow passengers to keep their spirits up.
Hezbollah showed mercy and released Roussos early. They knew the passengers had suffered enough already be being hijacked!
Over the years Roussos displayed bemusement that his name was forever linked with Abigail's Party.
Mike Leigh devised and directed this Play for Today. There was a lot of improvisation that goes on Mike Leigh productions and this was no exception. It cannot be a coincidence that Tony (John Salthouse) was a former footballer just like Salthouse was in real life.
Abigail is the 15 year old daughter of Sue who is having a party. In the play the party is in the background.
The action is next door as Beverly (Alison Steadman) invites her new neighbours Angela and Tony round for some drinks. A nervous Sue pops in a bit later on worried about the party in her own house.
Beverly's husband Laurence is an estate agent and aspires to be upwardly mobile. This is reflected in his musical tastes such as listening to classical music, however his cultural tastes are more for show. He is also a petty racist. He does not welcome the area being cosmopolitan.
Beverly is flamboyant. She has risen to be lower middle class but as the drinks flow. She becomes grotesque and increasingly argues with her weaker and more neurotic husband.
Angela is a nurse who is rather meek and weak willed. Tony is taciturn, a man of few words but becomes increasingly disdainful as the evening goes on. He does not seem to be happy to be saddled with a mortgage as they previously lived in a flat.
There is not much story going on and it is not really a comedy. There are a few laughs mainly because of Steadman's energy but really Abigail's Party is a tragic comic melodrama that becomes irritatingly whiny. There are no characters to root for, they all have issues. It does have a jolt of an ending.
The play now looks very mid 1970s when it was made. This is reflected in the clothes, music, deco and furniture in Beverley's house.
Although regarded as a classic, I think Abigail's Party is overpraised. Nuts in May was better.
Hezbollah showed mercy and released Roussos early. They knew the passengers had suffered enough already be being hijacked!
Over the years Roussos displayed bemusement that his name was forever linked with Abigail's Party.
Mike Leigh devised and directed this Play for Today. There was a lot of improvisation that goes on Mike Leigh productions and this was no exception. It cannot be a coincidence that Tony (John Salthouse) was a former footballer just like Salthouse was in real life.
Abigail is the 15 year old daughter of Sue who is having a party. In the play the party is in the background.
The action is next door as Beverly (Alison Steadman) invites her new neighbours Angela and Tony round for some drinks. A nervous Sue pops in a bit later on worried about the party in her own house.
Beverly's husband Laurence is an estate agent and aspires to be upwardly mobile. This is reflected in his musical tastes such as listening to classical music, however his cultural tastes are more for show. He is also a petty racist. He does not welcome the area being cosmopolitan.
Beverly is flamboyant. She has risen to be lower middle class but as the drinks flow. She becomes grotesque and increasingly argues with her weaker and more neurotic husband.
Angela is a nurse who is rather meek and weak willed. Tony is taciturn, a man of few words but becomes increasingly disdainful as the evening goes on. He does not seem to be happy to be saddled with a mortgage as they previously lived in a flat.
There is not much story going on and it is not really a comedy. There are a few laughs mainly because of Steadman's energy but really Abigail's Party is a tragic comic melodrama that becomes irritatingly whiny. There are no characters to root for, they all have issues. It does have a jolt of an ending.
The play now looks very mid 1970s when it was made. This is reflected in the clothes, music, deco and furniture in Beverley's house.
Although regarded as a classic, I think Abigail's Party is overpraised. Nuts in May was better.
"Anyone want a cheesy-pineapple one?"
ShadeGrenade2 October 2009
Warning: Spoilers
I never saw 'Abigail's Party' in 1977 and seemed to have missed the repeats, so I was grateful to 'The Observer' for giving the D.V.D. away last Sunday. It was devised and directed by the talented Mike Leigh, with the dialogue improvised by the cast.
It centres around a posh party thrown by overbearing Beverly ( Alison Steadman ) and her control freak husband Lawrence ( Tim Stern ). They have invited their neighbours - divorcée Susan ( Harriet Reynolds ) and husband-and-wife Angela ( the wonderful Janine Duvitski ) and Tony ( John Salthouse ).
Beverly's taste in music extends as far as Tom Jones and Demis Roussos ( the obese Greek who got to No.1 in Britain in the mid-'70's with 'Forever & Ever' ) and her idea of art is tacky pseudo-porn. Lawrence fancies himself as an art buff, listens to James Galway, and brags about owning 'The Complete Works Of William Shakespeare', despite never having read a word. Angela is every bit as vapid as Beverly, and while they chat Tony looks thoroughly embarrassed. He is like a volcano waiting to erupt and at the end, does.
Poor Susan has gone to the party mainly to escape from the one her daughter, the Abigail of the title, is currently throwing. From all accounts it sounds like the orgy of the century. She too is a reluctant guest ( and vomits in the bathroom at one point ). Beverley's probing questions about her failed marriage causes her distress, but the hostess appears not to notice.
So you have an interesting mix of characters here. Lawrence and Beverly are perfect examples of people trying to be something they are not. Another reviewer claims this is a revealing snap-shot of '70's life, but I beg to differ. Change the fashions, alter a few details here and there, and the story would work now. We've all been to parties like this, where the men are sidelined by the women ( I went to one in June ), and we've all met a dozen or so social-climbers like 'Beverly'. The era in which it was made is irrelevant.
Nothing much happens over the course of 101 minutes ( Lawrence and Beverly row over art, and he experiences a fatal heart attack ), but the dialogue is believable and performances are uniformly excellent, particularly Alison Steadman as the dreadful, self-obsessed 'Beverly'. She has been rightly described as the prototype for 'Edina' from 'Absolutely Fabulous'. Chain smoking, talking rubbish, flirting openly with her male guests, she is a total pain ( though admittedly very sexy! ). Janine Duvitski's 'Angela' likewise has much in common with 'Pippa', her 'One Foot In The Grave' character.
Like the title character in 'Waiting For Godot', Abigail is only talked about but never seen. In the years since its broadcast, the play has acquired a cult following, and some fans stage their own parties by way of tribute. So thanks to the 'Observer' for letting me have a good laugh for free. The accompanying article, however, featured the likes of Arabella Weir, Julia Davis, and Tony Holland all claiming to have derived inspiration from Mike Leigh's play. In what way? 'Abigail's Party' was funny!
It centres around a posh party thrown by overbearing Beverly ( Alison Steadman ) and her control freak husband Lawrence ( Tim Stern ). They have invited their neighbours - divorcée Susan ( Harriet Reynolds ) and husband-and-wife Angela ( the wonderful Janine Duvitski ) and Tony ( John Salthouse ).
Beverly's taste in music extends as far as Tom Jones and Demis Roussos ( the obese Greek who got to No.1 in Britain in the mid-'70's with 'Forever & Ever' ) and her idea of art is tacky pseudo-porn. Lawrence fancies himself as an art buff, listens to James Galway, and brags about owning 'The Complete Works Of William Shakespeare', despite never having read a word. Angela is every bit as vapid as Beverly, and while they chat Tony looks thoroughly embarrassed. He is like a volcano waiting to erupt and at the end, does.
Poor Susan has gone to the party mainly to escape from the one her daughter, the Abigail of the title, is currently throwing. From all accounts it sounds like the orgy of the century. She too is a reluctant guest ( and vomits in the bathroom at one point ). Beverley's probing questions about her failed marriage causes her distress, but the hostess appears not to notice.
So you have an interesting mix of characters here. Lawrence and Beverly are perfect examples of people trying to be something they are not. Another reviewer claims this is a revealing snap-shot of '70's life, but I beg to differ. Change the fashions, alter a few details here and there, and the story would work now. We've all been to parties like this, where the men are sidelined by the women ( I went to one in June ), and we've all met a dozen or so social-climbers like 'Beverly'. The era in which it was made is irrelevant.
Nothing much happens over the course of 101 minutes ( Lawrence and Beverly row over art, and he experiences a fatal heart attack ), but the dialogue is believable and performances are uniformly excellent, particularly Alison Steadman as the dreadful, self-obsessed 'Beverly'. She has been rightly described as the prototype for 'Edina' from 'Absolutely Fabulous'. Chain smoking, talking rubbish, flirting openly with her male guests, she is a total pain ( though admittedly very sexy! ). Janine Duvitski's 'Angela' likewise has much in common with 'Pippa', her 'One Foot In The Grave' character.
Like the title character in 'Waiting For Godot', Abigail is only talked about but never seen. In the years since its broadcast, the play has acquired a cult following, and some fans stage their own parties by way of tribute. So thanks to the 'Observer' for letting me have a good laugh for free. The accompanying article, however, featured the likes of Arabella Weir, Julia Davis, and Tony Holland all claiming to have derived inspiration from Mike Leigh's play. In what way? 'Abigail's Party' was funny!
Abigail's Party
CinemaSerf4 June 2023
Alison Steadman is outstanding in this BBC "Play for Today" self-adaptation of Mike Leigh's play as the really quite hateful "Beverley' who gathers a few of her friends around for drinks and canapés only to have the evening slowly degenerate into an alcohol infused angry, bitter observation of snobbery and middle class anachronisms. The tensions rise - accompanied by the increasingly intrusive and irritating racket from the eponymous party being held next door by the daughter of one of the guests. At times this is truly laugh-out-loud and at others agonisingly exasperating but an excellent example of great acting and writing.
Quintessential Mike Leigh
mjneu591 November 2010
Mike Leigh's jet black comedy of manners shouldn't be reviewed as a film; strictly speaking, it's a video document of his own stage play, performed as theater. The play itself is an often brilliant one-act satire, charting the total disintegration of an intimate cocktail party controlled by an aggressively bourgeois hostess (Alison Steadman) and her ineffective husband. The escalating tensions between each guest (one of them exiled from her daughter Abigail's punk rock party, heard but never seen offstage) suggest a clever parody of 'Who's Afraid of Virginia Woolf?', blending acute social embarrassment with moments of absurd but often hilarious tragedy. Middle class envy and pretensions have rarely been savaged with such glee, and on a purely technical level it offers a fine example of how to film a play as a play, with the camera intruding only far enough onto the stage to capture every nuance of the performances.
Oh Dear!
needleworx_flea19 January 2006
This is one of the worst films I ever saw, I can only compare it to a trip the dentist out of Little Shop of Horrors, followed by a quick shower in American History X, and finished off with a party in the cabin from Evil Dead. In short this unique film did everything in it's power to try and make me kill myself. It was tempting to end the pain as soon as possible but the person making me watch it assured me it didn't last too much longer. It was a family member making me endure the true nightmare that is Abigail's Party, if not related I would have cut this person out of my life completely for assaulting should with such awful viewing. When drunk I once got locked in a boiler-room where I was hiding for 16 hours and I would do that every day for a year if someone could give me back the time I spent watching this film. In short avoid it people, however if you have been un-lucky enough to view this monstrosity then the government has set up group counselling sessions. these are very helpful and have stemmed the murderous rage I felt at first. You can find details about these groups from you nearest citizen's advice bureau.
A jump into the Seventies
elenaprati27 February 2003
Watching Mike Leigh's Abigail's Party is like jumping into the past in the Seventies, when the play takes place. It's about a supposedly enjoyable party that soon becomes a hilarious and tragic disaster. And all is due to the ambition of being part of the middle class. The play is a portrait of people of that time, but nonetheless its themes are really up-to-date. For example, everything and everyone must be at Beverly's command so you can guess that it is unsafe to be victims of the desires of people like the cold-hearted Beverly, because events could take the wrong turn. This charming film is blessed with very talented actors who develop very peculiar characters. I really recommend it because it is clever thanks to the analysis of social reality and at the same time you can enjoy yourself with a good laugh.
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