In 1929 French Indochina, a French teenage girl embarks on a reckless and forbidden romance with a wealthy, older Chinese man, each knowing that knowledge of their affair will bring drastic consequences to each other.
Tony Leung Ka Fai,
The story of the relationship between painter Dora Carrington and author Lytton Strachey in a World War One England of cottages and countryside. Although platonic due to Strachey's ... See full summary »
Based on the award winning play by Julian Mitchell, the film explores the effect of Public School life in the 1930's on Guy Bennett as his homosexuality and unwillingness to "play the game" turns him eastwards towards communist Russia. Written by
Craig Wood <email@example.com>
In the original West End play of "Another County" that ran in London in 1982, Kenneth Branagh, at age 22, originated and played the part of Judd. In the movie the part was given to Colin Firth. Firth had also been in the original play but had played the character Bennett. Rupert Everett repeated the same role he had played on stage. Ironically, it had been Branagh who won the Society of West End Theatre award that year for 'Most Promising Newcomer' for his part in the play. In 1987 both Firth and Branagh would co-star in the movie 'A Month in the Country'. See more »
There's a little hollow at the base of his throat which make me want to pour honey all over him, and lick it off again.
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As far as I can tell, this sums up the lucid moral of the film, for to brush what the film actually contemplates is a risky business.
Perhaps it achieves a discreet, demonstrative style in the scenes with the juniors, who may actually be the true Marxist, lilliputian counterweight to the ideological tirades, a style which is best allied with the performances' muted quality.
As another reviewer shrewdly noted, one wonders if Colin Firth was ever a boy, that is how haunting a note he strikes, and with a sneer in his voice that maybe outshines even Michael Cane's, given his age.
Rupert Everett turns a cautious, elegant performance; have we actually come to appreciate his distinct comic, perhaps signature Wildean, timing (well, better serving him in dramatic films)?
But what will stay with me is the first amorous meeting between Benett and Harcourt, the first lines spoken and framed ideally by Elwes' flushed face and the - already enamored - slight twitches that betray him and convey a feeling of unspeakable beauty, a feeling of first -.
Excuse me for being rhapsodic, excuse Cary Elwes for afterwards portraying an inexperienced, somewhat floppy youth (yet with a charismatic aura due perhaps to the fact that this is his first role, and with a platonic passivity that retains all the ambiguities of this kind of love). Forget the confusing matter of the film's ideological, biographical, theatrical or what stitches, see how it frames first love (we only come to see a handshake - has a handshake ever been so evocative? - and an embrace, not a kiss, nor a caress) in the premises and remember how wisely the director makes James Harcourt exit: he does not reciprocate Everett's distant salutation.
If the film achieves an intuition, I think it is this grim one.
Along with stating that thick makeup of Victorian proportions cannot convince the youthful body underneath to be old enough, or irrelevant enough in the U.S.S.R..
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