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The annual British Hairdressing Championship comes to Keighley, a town where Phil and son Brian run a barbershop, and where Phil's ex-wife Shelly and her lover Sandra run a beauty salon, yet Phil and Shelly haven't talked in the ten years since she bolted. Shelley's just found out her cancer is terminal, and Ray Roberts, the reigning underhanded hairdressing champion, blows into town taunting Phil for retreating from competitive styling into barbering. Roberts also brings his daughter, Christina, who remembers Brian from when she was a little kid (as does he her). Everything's set: Brian decides to enter the competition with his mom and Sandra. Will Phil join in? Ray wants to win at any costs. Will Christina go along? Written by
Josh Hartnett was attracted to the project because it was the chance to do something he'd never tackled before. He found the Yorkshire accent particularly challenging. See more »
Throughout the movie, we are told that Shelley and Sandra left Phil ten years ago, when Phil was in line for his third straight national championship. The current competition is Hair 2000 (and is sometimes called the championships of the year 2000, to confirm that isn't "just" a name), yet when his honors are announced near the end of the movie, we are told he was national champion in 1981 and 1982. For this to be true, Shelley and Sandra must have walked out on him seventeen years ago. See more »
Written and Composed by Bill Withers / Skip Scarborough
Published by Unichappell Music Inc/Golden Withers Music / Chelsea Music Publishing Co Ltd
By kind permission of Warner / Chappell Music Ltd
Performed by Bill Withers
Courtesy of Columbia Records/Sony Music Entertainment (UK) Ltd
By Arrangement with Sony Music Licensing See more »
Despite a lot of Big Hair, this is not a big movie. Nonetheless, it is an enjoyable romp, with some affecting performances. There is nothing revelatory or even unpredictable about the story, but it works nicely and certainly entertains. The film does have a few rich moments, but seems mostly a vehicle for a group of talented actors (and it is a highly pedigreed bunch here) to take decent material and put out a fun and sometimes very moving film.
While it may drag a little in the center, don't give up watching for the finale and Rachel Griffiths "total look" finish that is about as outrageous and breathtaking a "total look" as one can possibly imagine. The normally brilliant Alan Rickman here sometimes feels just a little bit on autopilot, American Josh Hartnett is vastly underused, but surprisingly effective in an important role and Natasha Richardson, as ever, positively glows on the screen and raises the emotional and dramatic stakes to a level that makes the whole affair worthwhile.
Not great? Perhaps, but an immensely enjoyable little movie.
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