A British investment broker inherits his uncle's chateau and vineyard in Provence, where he spent much of his childhood. He discovers a new laid-back lifestyle as he tries to renovate the estate to be sold.
After years of no contact with his Uncle Henry, London banker and bond trader Max Skinner learns that Henry has died intestate, so Max inherits a château and vineyard in Provence. Max spent part of his childhood there, learning maxims and how to win and lose, and honing his killer instinct (at chess, which serves him well in finance). Max goes to France intent on selling the property. He spends a few days there, getting the property ready to show. Memories, a beautiful woman, and a young American who says she's Henry's illegitimate daughter interrupt his plans. Did Max the boy know things that Max the man has forgotten? Written by
Duflot's dog is named Tati, presumably after the great French clown and actor-director Jacques Tati. Scenes from some of Tati's films are in the montage shown during the romantic "Boum" sequence. See more »
When Max is playing tennis at La Siroque, the sound that the tennis racquets make does not correspond with the type of old racquets they have. The sound is from a modern tennis racquet. See more »
Did you know that dad mixed a martini for Winston Churchill? He also danced a waltz with Amelia Earhart in 1975.
Well, considering that Amelia Earhart died in the 1930's, that's a perfect example of the type of exaggerator Uncle Henry was. Want to know the real Uncle Henry? Not the one your overactive imagination is manufacturing? The *real* Henry Skinner was a man so afraid of committing to the real world, that he retreated from life to drink and shag his way to a lonely and loveless end.
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As a longtime fan of Russell Crowe, I do know that he can be funny, charming, sweet and romantic, not only on film but in real life. His recent appearances on the TV promotional circuit have proved this once again. Those who only know his films since LA Confidential for the most part focus on his ability to capture and project power, strength and inner turmoil. Those who have seen his films such as Proof, For the Moment, Love In Limbo and The Sum of Us have seen his ability to show the gentler, funnier and often more uncertain sides of the human experience. (I would also argue that these are readily seen in his films such as The Insider, A Beautiful Mind and Cinderella Man.) A Good Year is a wonderful return to the Russell of those earlier films. Like a Fred Astaire and Ginger Rogers movie, you know just where it's likely going to take you, but with such lovely, engaging people in such a wonderful setting you just want to enjoy the trip. And so you shall. What a refreshing change from the overheated, oversexed, over special "effected" and over bloodied fare that Hollywood usually dishes out. Thank you so much Mr. Crowe and Mr. Scott for my little vacation in the South of France!
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