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.
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.
A successful black woman discovers that her birth mother is an 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
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.
Director:
Mike Leigh
Stars:
David Thewlis,
Lesley Sharp,
Katrin Cartlidge
Moments from the uncompromisingly bleak existence of a secretary, her intellectually disabled sister, aloof and uneasy teacher boyfriend, bizarre neighbor and irritating workmate.
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 <scf@w0x0f.com>
Similarly, in the scene where Leonora Braham and Jessie Bond sing a short excerpt in their dressing room (ending in "he was a little boy") during an interlude of "The Sorceror", the song is from the Gilbert & Sullivan opera "Patience" ("Long years ago..."), sung by the characters Patience and Angela, which Leonora Braham and Jessie Bond had performed in the initial 1880 Opera Comique production. See more »
Goofs
During the performance, Katisha's kimono is wrapped incorrectly. All Kimono wrap from the right side of the body to the left (i.e. the right side folds over the left), but her kimono wraps from left to right. Every other character has her/his kimono wrapped correctly. See more »
Creative genius is a fickle creature. It is rare (some might say impossible) to find artists working in concert who don't experience the aptly termed "creative differences". Indeed most collaborations, whether the result of clashing egos (Simon and Garfunkel), divergent visions (The Beatles), or plain old hatred (Guns 'N Roses) eventually self-destruct. Therein lies the dilemma for the operatic duo of Gilbert and Sullivan.
After nearly a decade of uninterrupted commercial successes their career has reached a crossroads: their latest effort is doing poorly at the box office due to a combination of lackluster reviews, and a vicious heat wave. Sullivan (Allan Corduner) exhausted and in ill health, repairs to the continent to rejuvenate himself and upon his return informs Gilbert (Jim Broadbent) that he has grown tired of the repetitive and unimaginative nature of their operas. Sullivan has decided to devote his remaining time, however long, to serious music.
After stewing about the revelation for several hours, Gilbert agrees to accompany his wife to a Japanese exposition in the hope that he will find some peace. Instead he experiences an epiphany: he will write a new opera set in Japan. The question is can he convince Sullivan to score it?
Director Mike Leigh (Secrets and Lies) is legendary for his attention to detail. He requires his actors not only learn their lines, but create a history for the character: their favorite foods, hygiene habits, and literary choices. Consequently he elicits unique performances from his cast. This film is no exception: Broadbent's stoic, sensible, and dignified Gilbert is simultaneously witty and clueless, while Martin Savage's performance as the pompous, manic, substance-abusing diva George Grossmith is eerily familiar (shades of Robert Downey Jr.). Leigh also goes to great efforts to create both a pleasing and authentic visual experience: from the sets, to the backdrops to the costumes, he does an excellent job of recreating the Victorian era. Unfortunately Leigh's microscopic view is also his undoing.
I enjoyed several aspects of this film, but there's just too much of it: with a runtime of 140+ minutes, Leigh spends so much time dwelling on the minutiae of the characters and setting that he forgets about the substance. Little if anything happens in the first hour and a half of the film (one of the reviewers sitting behind me fell asleep) and by the time the film finally hit it's stride I was checking my watch to see when it would be over.
If you are a Gilbert and Sullivan fan, you may enjoy this film. But mark my words: wear comfortable clothes and don't go for the big Coke unless you have a titanic bladder.
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Creative genius is a fickle creature. It is rare (some might say impossible) to find artists working in concert who don't experience the aptly termed "creative differences". Indeed most collaborations, whether the result of clashing egos (Simon and Garfunkel), divergent visions (The Beatles), or plain old hatred (Guns 'N Roses) eventually self-destruct. Therein lies the dilemma for the operatic duo of Gilbert and Sullivan.
After nearly a decade of uninterrupted commercial successes their career has reached a crossroads: their latest effort is doing poorly at the box office due to a combination of lackluster reviews, and a vicious heat wave. Sullivan (Allan Corduner) exhausted and in ill health, repairs to the continent to rejuvenate himself and upon his return informs Gilbert (Jim Broadbent) that he has grown tired of the repetitive and unimaginative nature of their operas. Sullivan has decided to devote his remaining time, however long, to serious music.
After stewing about the revelation for several hours, Gilbert agrees to accompany his wife to a Japanese exposition in the hope that he will find some peace. Instead he experiences an epiphany: he will write a new opera set in Japan. The question is can he convince Sullivan to score it?
Director Mike Leigh (Secrets and Lies) is legendary for his attention to detail. He requires his actors not only learn their lines, but create a history for the character: their favorite foods, hygiene habits, and literary choices. Consequently he elicits unique performances from his cast. This film is no exception: Broadbent's stoic, sensible, and dignified Gilbert is simultaneously witty and clueless, while Martin Savage's performance as the pompous, manic, substance-abusing diva George Grossmith is eerily familiar (shades of Robert Downey Jr.). Leigh also goes to great efforts to create both a pleasing and authentic visual experience: from the sets, to the backdrops to the costumes, he does an excellent job of recreating the Victorian era. Unfortunately Leigh's microscopic view is also his undoing.
I enjoyed several aspects of this film, but there's just too much of it: with a runtime of 140+ minutes, Leigh spends so much time dwelling on the minutiae of the characters and setting that he forgets about the substance. Little if anything happens in the first hour and a half of the film (one of the reviewers sitting behind me fell asleep) and by the time the film finally hit it's stride I was checking my watch to see when it would be over.
If you are a Gilbert and Sullivan fan, you may enjoy this film. But mark my words: wear comfortable clothes and don't go for the big Coke unless you have a titanic bladder.