Just north of London live Wendy, Andy, and their twenty-something twins, Natalie and Nicola. Wendy clerks in a shop, leads aerobics at a primary school, jokes like a vaudevillian, agrees to... See full summary »
Slice-of-life look at a sweet working-class couple in London, Shirley and Cyril, his mother, who's aging quickly and becoming forgetful, mum's ghastly upper-middle-class neighbors, and ... See full summary »
A short comedy by Mike Leigh about the romance between a young woman and a man who communicates only through jokes and humor. The story is told as a series of very short vignettes between ... See full summary »
Sylvestra Le Touzel,
After their production "Princess Ida" meets with less-than-stunning reviews, the relationship between Gilbert and Sullivan is strained to breaking. Their friends and associates attempt to get the two to work together again, which opens the way to "The Mikado," one of the duo's greatest successes. Written by
Steve Fenwick <firstname.lastname@example.org>
At the beginning of the scene showing the recital in which Sullivan's song "The Lost Chord" was sung, the pianist is shown playing the last few bars of the Nocturne No. 4 in E-flat major, Op. 36, by Gabriel Faure. The piece was first published in 1884, not long before the events depicted in the film. See more »
When Gilbert enters the night's take for Princess Ida in his ledger, the date can be seen to be listed as Monday, 10 June, 1884. That date actually occurred on a Tuesday in that year. See more »
[to Mr. Hurley, the bassoonist]
You was late, Mr. 'Urley.
See more »
I loved this film, yet I have a hard time understanding many of the comments other viewers have made. I never liked G&S all that much, thought they were rather light weight stuff. Never liked the late Victorian era much either. Kind of a dull time, I thought. Musicals are definitely not my thing.
Yet this movie struck me as one of the greatest I have ever seen, right up there with Greed and Citizen Kane and all that lot. I suppose it's because I like period pieces, and I think it's damned difficult for anyone to draw an accurate -- or even an evocative -- picture of any time that is not their own. This movie does that, and it never even appears to strain so much as a single hair to do so.
In the end, this movie is deeply *humane.* Like many another Mike Leigh epic, the characters here are drawn in the round, flaws and talents all on view, just like real human beings. And he likes them all, even the stinkers. Likes them well enough to paint them as they are, not as cardboard figures.
If you like your characters pre-digested and redrawn larger than life and your plots full of twists and turns, you might find this movie tame. If you like people, you'll find it fascinating, funny, and true as gold.
And why do I rate it so highly? Because it hangs together so perfectly, all of a piece. It's luscious to look at, delightful to hear, and sweet as candy without ever once becoming saccharine or cheap.
Some reviewers complained you had to "already know" something to enjoy this movie: the music, the time, the language, the whatever. I say, all you have to know is human beings. If you find them interesting, you'll love this movie.
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