Parallel tales of two sexually obsessed men, one hurting and annoying women physically and mentally, one wandering around the city talking to strangers and experiencing dimensions of life.
A successful black woman discovers that her birth mother is a underprivileged white woman, but the woman denies it. As emotions run high, everyone's secrets are exposed.
Director:
Mike Leigh
Stars:
Timothy Spall,
Brenda Blethyn,
Phyllis Logan
In a poor working class London home Penny's love for her partner, taxi-driver Phil, has run dry, but when an unexpected tragedy occurs, they and their local community are brought together, and they rediscover their love.
Set in the 1880s, the story of how, during a creative dry spell, the partnership of the legendary musical/theatrical writers Gilbert and Sullivan almost dissolves, before they turn it all around and write the Mikado.
Director:
Mike Leigh
Stars:
Jim Broadbent,
Allan Corduner,
Dexter Fletcher
Johnny flees Manchester for London, to avoid a beating from the family of a girl he has raped. There he finds an old girlfriend, and spends some time homeless, spending much of his time ranting at strangers, and meeting characters in plights very much like his own.Written by
John Hartnup <hartnupj@cs.aston.ac.uk>
Katrin Cartlidge and Lesley Sharps would later go on to appear in From Hell (2001), a murder-mystery film about the Jack the Ripper killings starring Johnny Depp. Cartlidge and Sharps played eventual victims of Jack. See more »
Quotes
Johnny:
All right, listen. Does anybody mind if I scream here? Is that okay with you all? Cause I'd feel better for it. It won't take long.
See more »
An unemployed - but intelligent - social misfit goes on the run to London following a back alley rape, but finds The Capital just as desperate and alienating as his native Manchester.
This is one of the hardest films I have ever had to review. Topics such as urban alienation, career-choice unemployment, leeching, homelessness, drug taking and sexual violence would normally send me running for cover; but what we have here is so well constructed and so skilfully acted that it transcends it own headline topics.
This is a classic case of car-wreck film making: You don't praise or celebrate much, yet it is deeply fascinating and even hypnotic. People are tap dancing on the edge of a metaphorical cliff - some are there of there of their own free will.
Director Mike Leigh's semi-improvisational style doesn't always work, but here it really delivers something unique. You feel that you are watching real life even though too much happens in too short a time period for that to be the case.
This is a wandering odyssey film and features a central performance - by David Thewlis - that ranks along the best ever witnessed in cinema. How the Oscar people could have (totally) turned their back on a performance as a good as this puzzles; although the film and actor won prizes in Cannes and New York.
This is the first film I have ever seen that takes on sexual coercion in a head on fashion. People that have put themselves in a chemical or social situation where someone has something over them. The greasy upper crust landlord (Greg Cruttwell) might seem over-the-top to many but I know a few people actually like that!
(For the record his actions would be deemed illegal in real life - if you have seen the film.)
What happens to the on-screen people the day after this film ends? Has anything really changed? For Johnny - our central anti-hero - it will be just another day to duck and dive, avoid all work and wind people up using his extensive back reading.
101 of 127 people found this review helpful.
Was this review helpful to you?
| Report this
An unemployed - but intelligent - social misfit goes on the run to London following a back alley rape, but finds The Capital just as desperate and alienating as his native Manchester.
This is one of the hardest films I have ever had to review. Topics such as urban alienation, career-choice unemployment, leeching, homelessness, drug taking and sexual violence would normally send me running for cover; but what we have here is so well constructed and so skilfully acted that it transcends it own headline topics.
This is a classic case of car-wreck film making: You don't praise or celebrate much, yet it is deeply fascinating and even hypnotic. People are tap dancing on the edge of a metaphorical cliff - some are there of there of their own free will.
Director Mike Leigh's semi-improvisational style doesn't always work, but here it really delivers something unique. You feel that you are watching real life even though too much happens in too short a time period for that to be the case.
This is a wandering odyssey film and features a central performance - by David Thewlis - that ranks along the best ever witnessed in cinema. How the Oscar people could have (totally) turned their back on a performance as a good as this puzzles; although the film and actor won prizes in Cannes and New York.
This is the first film I have ever seen that takes on sexual coercion in a head on fashion. People that have put themselves in a chemical or social situation where someone has something over them. The greasy upper crust landlord (Greg Cruttwell) might seem over-the-top to many but I know a few people actually like that!
(For the record his actions would be deemed illegal in real life - if you have seen the film.)
What happens to the on-screen people the day after this film ends? Has anything really changed? For Johnny - our central anti-hero - it will be just another day to duck and dive, avoid all work and wind people up using his extensive back reading.