A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.
While subjected to the horrors of World War II Germany, young Liesel finds solace by stealing books and sharing them with others. In the basement of her home, a Jewish refugee is being sheltered by her adoptive parents.
When former journalist Martin Sixsmith is dismissed from the Labour Party in disgrace, he is at a loss as to what do. That changes when a young Irish woman approaches him about a story of her mother, Philomena, who had her son taken away when she was a teenage inmate of a Catholic convent. Martin arranges a magazine assignment about her search for him that eventually leads to America. Along the way, Martin and Philomena discover as much about each other as about her son's fate. Furthermore, both find their basic beliefs challenged. Written by
Kenneth Chisholm (email@example.com)
In the United States, the MPAA gave the film an 'R' rating for ambiguous usage of the "F-word" (usually, only one non-sexual utterance of the word is permitted for 'PG-13'). A lengthy appeals process ensued, with producer Harvey Weinstein and actor/writer Steve Coogan testifying at the hearings in Los Angeles. The Weinstein Company won their appeal for 'PG-13' on November 13, 2013, nearly a week before the film's scheduled theatrical release. See more »
After Alex talks to Martin on flight to America, Alex leaves and goes to stairs (going to upper deck - ie like 747). When the plane is landing, the view of the landing plane is one with a single level passenger compartment. See more »
And that's him with Pete Olsen. Mike and Pete were...
That's alright, Mary. I know Anthony was a gay homosexual. And we've met Marcia, who I believe was his beard. Is that right, Martin?
Yes, that's, that's about right.
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Fabulous piece of work by all concerned. We get to see all sides of a single story without excessive back flips, cartwheels and other cinematic tricks. Coogan has got the measure of this story and pulls off a truly convincing performance as Sixsmith whilst Dench almost manages to do an entire film with a dialect....occasionally lapses but you may not notice. This is a real tear-jerker at points, thought provoking at many junctures and full of ironic humour. That's quite a feat and the more enjoyable for being so. I presume the timescale is roughly ten years ago so attempts at getting tech right for the period is still possible - amazing that so recent history can seem like centuries ago when we see old technology in use. I can see this film being a 'classic' long before it reaches any real age. Its the 21st century version of a 19th century Dickens tale, that it is.
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