In 19th-century France, Jean Valjean, who for decades has been hunted by the ruthless policeman Javert after breaking parole, agrees to care for a factory worker's daughter. The decision changes their lives for ever.
An elderly Margaret Thatcher talks to the imagined presence of her recently deceased husband as she struggles to come to terms with his death while scenes from her past life, from girlhood to British prime minister, intervene.
Richard E. Grant
Sir Laurence Olivier is making a movie in London. Young Colin Clark, an eager film student, wants to be involved and he navigates himself a job on the set. When film star Marilyn Monroe arrives for the start of shooting, all of London is excited to see the blonde bombshell, while Olivier is struggling to meet her many demands and acting ineptness, and Colin is intrigued by her. Colin's intrigue is met when Marilyn invites him into her inner world where she struggles with her fame, her beauty and her desire to be a great actress. Written by
At the beginning of the film, just as Colin's voiceover states he was going to "join the circus," we see the sign for Laurence Olivier's production studio, including its address on Piccadilly. Whether coincidentally or meant as a tongue-in-cheek reference, there is a "Piccadilly Circus" in London. It is a road junction and public space in London's West End. See more »
In the closing credits, the word "Love" in the title of the song "When Love Goes Wrong (Nothing Goes Right)" is misspelled as "Loves". See more »
In 1956, at the height of her career, Marilyn Monroe went to England to make a film with Sir Laurence Olivier. While there she met a young man named Colin Clark, who wrote a diary about the making of the film. This is their true story.
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Performed by Johnny Ace
Written by Johnny Ace (as John L. Alexander)
Published by Universal/MCA Music Ltd
Courtesy of MCA Records Inc.
Under license from Universal Music Operations Ltd See more »
I attended an advance screening of "My Week With Marilyn," and much to my surprise, was absolutely blown away. I was initially very reluctant to accept Michelle Williams as Marilyn, one of the most beautiful and glamorous women of all time, but she was extraordinary - luminous, even. She pulled off the role seamlessly, and turned Ms. Monroe into a layered, complex character, rather than the sex-kitten caricature we are all so used to seeing. Michelle managed to show us the real Marilyn
the woman who so desperately wanted to be loved, to be accepted, to
be good at her job. The vulnerability, the mannerisms, the voice - all were pitch perfect. I have no doubt there will be yet another Oscar nomination in Michelle Williams' near-future.
I was also very impressed by Eddie Redmayne, who's character was arguably the heart of the film. He was excellent as the star-struck yet sensitive Colin Clark, who helped Marilyn through her very difficult time on the set of "The Prince and the Showgirl." This was definitely a star-making turn for Eddie - I expect we'll be seeing much more of him.
The movie is similar in tone to "The King's Speech," and was helped by a beautiful score and wonderful costumes. Director Simon Curtis, who devoted eight years of his life to this project, did a wonderful job capturing the essence of 1950's England. The wardrobe department deserves a nomination, as do the writers. Kenneth Branagh was superb as Laurence Olivier, as was the great Judi Dench as Dame Sybil.
All in all, one of the best films I've seen this year, and definitely the best (not to mention most authentic) portrayal of Marilyn ever to hit the silver screen. I couldn't have been more impressed.
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