Easy Virtue Movie
Storyline
TAGLINES PLOT SUMMARY
A young Englishman marries a glamorous American. When he brings her home to meet the parents, she arrives like a blast from the future - blowing their entrenched British stuffiness out the window.
| Jessica Biel | Larita Huntington |
| Ben Barnes | John Whittaker |
| Kristin Scott Thomas | Veronica Whittaker |
| Colin Firth | Jim Whittaker |
| Kimberley Nixon | Hilda Whittaker |
| Katherine Parkinson | Marion Whittaker |
| Kris Marshall | Furber |
| Christian Brassington | Phillip Hurst |
| Charlotte Riley | Sarah Hurst |
| Jim McManus | Jackson |
| Pip Torrens | Lord Hurst |
| Laurence Richardson | Marcus |
| Georgie Glen | Mrs. Landrigin |
| Stephan Elliott |
6.80 out of 10 (2170 votes)
Visitor Reviews
Muddled adaptation of a dated play is neither funny nor dramatic, but fluffy treatment and Colin Firth occasionally allay boredom and claustrophobia.
posted on 11 Jul 2009This old play, set in a lovely old 20s house in the country, pits a control-freak aristocrat mother (woefully miscast Kristin Scott-Thomas) against a willful American racing driver divorcée (monumentally miscast Jessica Biel) who has married aristocratic mother's young son (Ben Barnes). The son is sweet but weak. The mother is possessive, traditional and determined; the divorcée is equally determined, and is supposed to be exciting (at least), but is a lump of wood. The father (Colin Firth) provides a glimpse of what might be an interesting character with an interesting story, but the plot is mostly confined to a series of dull, unconvincing, repetitive power struggles between mummy and divorcée, inside the enormous house, which I, as a viewer was dying to get out of. There are occasional sorties, but nothing much happens. Most of the audience around me were enjoying themselves, so it must just be me who found it like a village hall production,on a big budget. If you like Noel Coward's oeuvre, or any well-paced drama and/or comedy, you'll probably find this sheer torture.
Two hours of glee.
posted on 05 Jul 2009Easy Virtue is best viewed late at night after a good bottle of drop. From the opening scene it shines with twinkle and tout - the audience at my session snorted and giggled throughout. I would describe it as perfect for any occasion, and as a film that even fans of Elliott's less coveted efforts (Woop-Woop) will be delighted by.Free from pesky shots of the English countryside, the pace is strong from start to finish, while the plot treads familiar ground with refreshing vitality. Worth noting is the fantastic soundtrack and, of course, the stellar performance by Biel. She is superb! In top form! The BEST I have ever seen her (and prior to this I was never a fan).Stephan Elliott is back boys - bring on Black Oasis!
That sound and authentic British humour!
posted on 01 Jul 2009Brilliant, sparkling, joyful and sad, passionate and exciting, sweet and sour, elegant, refined and superbly ungraceful at the same time: contrasting adjectives are very fit for this captivating movie, which really hits the mark in a superb way. No flaw is to be found: the construction is solid and yet dynamic, highly-range acting is offered by the whole cast (but let me define Kristin Scott Thomas as sublime). The director creates a really enjoyable product, capable as it is of gaining the favour of the audience and to satisfy the viewer, both from an aesthetic and emotional point of view. The sound and authentic British humour stirring from the beginning to the end, makes one laugh but also think about the necessity to overcome a stuffy traditionalist attitude which make look back to a fossilized but no longer valid past,in order to let the new enter the scene, with all its dramatic potential of change. All certainties are questioned and prove to be dramatically frail. The conflict between the traditional English sobriety and self-control and the non-conformist American way of life gives rise to funny but also thoughtful moments of tension, subtly underlined by witty dialogues and emotionally engaging musical and dancing exchanges. A movie to be seen, heard, and enjoyed in every single part.
Easy virtue, hard laughs
posted on 29 Jun 2009A naive young English aristocrat (Ben Barnes) meets a dashing 30-something American bleached blonde who races cars in Monte Carlo (Jessica Biel). He is smitten, they marry, and off they go to his ancestral estate where his mama (Kristen Scott Thomas) is antipathetic, his young sisters simpering and snide, and his papa (Colin Firth) very friendly. The butler (Kris Marshall) is naughty. This is the story arc of Noel Coward's obscure play as adapted by Australian Stephen Elliott with help from Sheridan Jobbins. The settings and cars and clothes and hairdos (including Barnes' deliciously slicked back hair, Firth's appealingly tousled locks, and Scott Thomas' tight Marcelle, which goes long and dreamy during her melancholy bedroom aria) are all perfectly post-World War I. But the rhythms and the humor are often leaden and anachronistic. Nor is any of the action ever as wicked as it seems to want to be.It may be that the Australian director of the hyperkinetic drag saga 'The Adventures of Pricilla, Queen of the Desert' lacked the brittle sense of irony required to do Noel Coward. Perhaps the original material itself is uncertain of tone, considering that Hitchcock directed a dark thriller version of the play when in his twenties. Obviously Elliott's film is meant to be a comedy, but how funny is accidentally sitting on a Chihuahua and crushing all its little bones, and then having to sit down on it again three times to hide the situation as Biel must do when Scott Thomas and Barnes' sisters inopportunely appear? What this would really look like isn't something one wants to think about. The dark humor catches stride when the servants help conduct a secret burial for the poor canine, saying they "never liked the little bitch." But the surprisingly swift devolution of Biel's and Barnes' marriage and the hostility of the female relatives just aren't funny.And when the girls dig up embarrassing secrets from the blonde wife's past, is that a giggle? Or when Firth talks about fighting in a battle where 20,000 men were killed in the first four minutes, chuckles? To jazz things up, Elliott weaves in Noel Coward and Cole Porter songs and lyrics at every possible opportunity, even bad ones, like when it's drizzly and cold out for a tennis match and the soundtrack plays "Mad Dogs and Englishmen" ("Go out in the midday sun"). These excesses are annoying. The final number is completely anachronistic and in pointless taste. It's an orchestral version of Billy Ocean's "When the Going Gets Tough, the Tough Get Going," with Biel and Barnes belting out the lyrics as the credits roll. Bright and good-looking but clumsily written and continually out of tune, this is one of those misbegotten films whose best and potentially most amusing lines have all been stolen and shown off in the trailers. One wishes they could have been patched together with a better rhythm in the actual feature; but there aren't enough of them to fill a movie.There are good moments, and despite the overdone songs, two of them are musical. An amateur county theatrical reveals just why the cancan was once thought to be so naughty. And at a Christmas ball, Firth and Biel do a tango that's both original and sexy.Whatever failings there are can't be blamed on the cast. Jessica Biel ('Texas Chainsaw Massacre,' 'I'll Be Home for Christmas,' 'Elizabethtown') hasn't exactly a good background in witty comedy, but she handles herself very well, looking every bit the flapper diva and able to hold her own against the toughest British lady. That would be Scott Thomas. Of course she delivers her just-slightly-over-the-top haughty bitchiness quite perfectly, but she deserves better material. Firth isn't particularly in period or on tone, which is more a mater of casting than any fault in his acting. In the end this hardly matters since he's irresistibly sympathetic as the scruffy, war-traumatized husband. Ben Barnes, who hit it big when he landed the role of Prince Caspian in the 'Narnia' franchise two years ago, is not only charming and dashing (in the naive way called for in the plot) but, despite a badly underwritten part, manages to seem the most like an appropriately shallow, giddy Noel Coward character of anybody in the cast -- just the sort of Bright Young Thing who looks equally perfect in tennis whites or tails, but is unsuitable for any sort of work. A pleasant surprise is the hilariously wicked butler. One can only wish Ken Marshall as Furber had been given a bigger role. Not surprising to find Marshell was in the cast of Frank Oz's extremely funny 'Death at a Funeral.' One wishes these proceedings had the kind of momentum and drollery that film does. But they don't. Instead, there are too many shots of the imposing facade, the horse and hound, the great hall, the high solarium, the dashing period sports car. We don't need grandeur. We need to laugh.
Very disappointing movie experience for someone who was so looking forward to seeing this.
posted on 25 Jun 2009Very disappointing movie experience for someone who was so looking forward to seeing this. Unauthentic character portrayals all round with not one single sympathetic character to be found. Badly rehashed writing job of what was surely brilliant in its original form. What a sad shame for Ealing Studios to have this stain against its name. SHAME on one of my favourite actresses Kristin Scott Thomas for having anything to do with this rubbish, even if she is the least awful thing in it. Colin Firth, an equally class act, should similarly stop slumming it in some of these more recent bombs he's done, as if keeping himself amused in Pantomime. When I stood up to walk out of the cinema after the first 50 minutes, the friend I was with was fast asleep. The writer/director would be well advised to stick with contemporary Aussie drag queen capers and avoid trying to play with great talents like Noel Coward. This is not even vaguely how the English class it muses about is or ever truly was, but is, rather, a short-sighted guess from a non-English director. I want my money back.
A thoroughly enjoyable British comedy.
posted on 23 Jun 2009John Whittaker (Barnes) is travelling and falls in love with beautiful American divorcée, Larita (Biel). After spontaneously getting married, John brings her back to his stately home in England, where although many warm to her, she is largely frowned upon – especially by his formidable mother, Veronica (Scott Thomas), who makes her stay as uncomfortable as possible. Based on the original play by Noel Coward, 'Easy Virtue' encompasses sharp wit, romance and drama; and although it is set in 1920s England, it is far from the typical period drama that might be expected. The soundtrack is slightly risky in places with its rearrangement of contemporary songs to period-music; but this can be overlooked for everything else the film has to offer. Firth supplies brilliant one-liners as the war-weary husband of Veronica. Biel has a captivating presence, bringing sexiness and classic Hollywood glamour to the screen; whilst Thomas, in total opposition, plays the stiff-upper-lipped English mother-in-law to perfection. A thoroughly enjoyable British comedy.
Coward served with a trowel
posted on 30 May 2009There is very little to recommend this travesty of one of Noel Coward's less exciting plays. For one thing, it's another one of these period pieces that distorts the period in question with anachronistic music and dialogue and plot situations. 90% of Coward's brittle, subtle word play is excised and replaced wholesale by a mishmash of pseudo-Coward-ish repartee that falls flat more often than not; these substitutions are further embellished by bits of slapstick. The screenwriters even reach into Coward's offstage banter for lines like "If you had a neck, I'd wring it." EASY VIRTUE was one of those drawing room comedies in which stuffy old-fashioned people, remnants of the Victorian Age, were exposed by outsiders or upstarts in their midst as the vile hypocrites they were. This exposure took the form of verbal exchanges in spacious interiors, and in the case of EASY VIRTUE, of dramatically satisfying rants by the exasperated Larita, a middle-aged "woman with a past" who marries a callow youth from a traditional family. It was the age when old social mores (money and land marrying money and land, sexuality suppressed, etc.) were breaking under the pressure of that demon Progress, and hastened by that Leveller, War, and were being supplanted by a new morality, that of "easy virtue." In this film, these themes are shouted out at us, discussed in detail, dramatized with underscoring and exclamation, whereas in the original they were gurgling beneath the surface.Here we get an American actress, Jessica Biel, as Larita, who in real life is YOUNGER than Ben Barnes, the actor who plays John Whittaker, the youth she marries! So the organic subtext of their relationship is thrown out from the start. And the pseudo-Cowardian dialogue turns to mush coming from her 21st century North American lips - it's like watching a high school performance. She is never convincing. Kristin Scott Thomas as the youth's calculating to- the-manor-born mother, Katherine Parkinson as the repressed elder daughter and Kimberley Nixon as the excitable younger one, and Ben Barnes serve their parts well enough. Colin Firth gives a strong performance as the father but the conception of his character seems weirdly out of synch with the 1920s, as crystallized in his dinner table remark that the American Thanksgiving holiday was like a commemoration of the genocide of the Native Americans - definitely not from Coward!As if to compensate for the gutting of Coward's original dialogue, the filmmakers inject snippets of Coward's own songs either on the soundtrack, from Victrola records played by the characters or from the mouth of John Whittaker to his wife. It's a pathetic waste of time.
Funny, heart-warming and delightfully engrossing.
posted on 20 May 20092008 has been a mixed bag thus far as far as character dramas are concerned, with the majority either lacking in any interesting personas and the remainder usually lacking in anything remotely fun about the experience. Thankfully, Easy Virtue takes residence amongst the minority of this year's examples, blending a wonderful ensemble of characters and respective performers with plenty of humour, romance and palpable charm. As a musical per se, which one could place the movie given the role that music plays in its narrative, the music is catchy, but always played in the background to what is going on with characters. So while the numbers certainly don't ever take off, the harmony created between the film's immediate interests always take precedence over the aesthetics, no matter how inviting and well done those elements are implemented. Sure enough, there isn't much in the way of flaws present within Easy Virtue's two hour runtime outside of the fact that it can sometimes drag on in terms of plotting. Nevertheless, despite small pacing problems, Easy Virtue is a wonderfully breezy, and yet hard hitting portrayal of relationships, both temporal and unconditional.Where each of these sources of love comes from it seems is where the writers seem most interested in exploring; rather than sticking to the genre's more conventional set of rules, the movie instead takes a familiar, albeit refreshing route. Telling the story of Larita (Jessica Biel), an American race-car driver newly wed to love of her life John Whittaker (Ben Barnes) as she moves into her husband's inherited estate for the holidays, Easy Virtue take the romantic comedy and heats things up a little. The centrepiece of the story revolves around the idea that John's English aristocratic family either immediately resents Larita's presence or soon adheres to this mind-frame. This conflict draws most firmly from John's mother (Kristen Scott Thomas) who takes an especially vindictive and callous attitude towards her big-eyed, fresh faced and glamorously intimidating daughter in law.This relationship, although not falling far from the genre's tree of ideas and structure, nevertheless does well to keep things grounded and believable. Very rarely are theatrics employed to establish the characters' obvious confliction, and as such both grow as the movie wears on, allowing not just drama to unfold from the proceedings, but comedy also. To say that Easy Virtue is a funny movie would be somewhat of an exaggeration; this isn't a comedy by any means, but it's not a straight forward drama or romance either. Instead director Stephen Elliot manages to do what so little directors of the genre actually succeed in implementing; a fine blend of all three ingredients whilst at the same time keeping characterisation consistent and engaging. Again these ingredients are most fully realised in the triangle of mother/son and the new girl in his life, with each ingredient sharing enough screen time to warrant interest; Easy Virtue isn't a funny movie no… it's a funny, heart-warming and delightfully engrossing movie with plenty of intelligent drama and aesthetics.Nevertheless, regardless of genre tagging, and the tricky balancing act involved in handling such a mix, the real potency of heart present that makes Easy Virtue such a joy to watch is simply through its characters and their relationships together. Mentioned above, the centrepiece of this endlessly amusing mix of character is the dynamic between Larita and her new mother in law. What's most interesting about this pairing however doesn't necessarily always reside in their obviously conflictive facades, but within the thematic subtext that each brings to the story regarding lover and son John. Dealing primarily with the complexities of human relationships, and specifically love, the writers explore the different kinds of love and how they are more often than not wrongly interpreted or received. What's most interesting about the central figures then is that each seems to have swapped their traditional roles for the others; ostensibly Larita is seen a gold-digging, naïve lover who is only out for a short jog, whilst Mrs. Whittaker is instead presented as John's unconditional love source, undeniably in it for the long term. This paper thin appearance however is what Easy Virtue sets out to look past, and the results are both rewarding and intriguing, giving ample substance to back up the laughs.Of course all of this would go to waste if given to less than capable performers to get across not just their own dynamic personas, but the relations and unique chemistry that they share together. Featuring a huge ensemble of recognisable British talents, along with the impressive Jessica Biel, it would take far too long a paragraph to go through each individually and analyse their performances, so I will simply cut a farily large corner and say that the entirety of the cast here do a wonderful job with each of their respective roles. Of notable interest is the always compelling Colin Firth as a rather withdrawn and bored husband, Ben Barnes who plays youthful, energetic and distinctly naïve John to a fine point and Kristen Scott Thomas who often parallels her sombre role in recent French production I've Loved You So Long. All of these performances however are just the tip of what is a surprisingly effective little treat for anyone looking for good adult fun, with plenty of intelligent humour and romance to boot. Sure enough there are some problems with pacing and over-emphasis on theatrical drama at rare occasions that clash with the film's otherwise consistently grounded tone, but these elements are far and few between each of the much more successful moments. Fun, engaging and entirely memorable, Easy Virtue is a rarity these days, so I cannot recommend it enough.- A review by Jamie Robert Ward (http://www.invocus.net)
Unusual but rewarding
posted on 16 May 2009A bit of an odd one, this. Based on an obscure Noel Coward play (and previously filmed by Hitchcock in 1928 as a silent drama), young John Whittaker arrives back at the family's stately home with his new wife in tow. When Mother finds out that Larita is American she is appalled, and begins to systematically undermine this very capable young lady. John's two sisters are inclined towards their mother's position, while Father (who, following his war experiences, is pretty disengaged from the family), likes Larita. What follows is a comedy of manners which develops into something rather more serious.Jessica Biel plays Larita, and rather well, too. Kristen Scott Thomas is a politely venomous, and very funny, Mother. Colin Firth's Father is sad and serious (but with some great one liners) seeing what goes on, and perhaps being somewhat more interested than the impression he gives, but with a drastically different sense of priorities to the rest of his relatives. Ben (Prince Caspian) Barnes plays John as written, a pretty but callow young man. Kris Marshall gets most of the funniest bits of business as a perpetually acidic (and very 21st century) butler.This film plays off the British class system and the institutionalised snobbery it embodies (especially in 1928), and may therefore not translate well in other countries. It is very funny in places, particularly in the first half, but ultimately it isn't really a comedy. Many - most, perhaps - of the main characters simply aren't very nice people.As events proceed you begin to get a feeling for what you would like to happen, but you are only too aware that your preferred resolution would be a very modern way to finish the story off. As a result, the conclusion came as a surprise to me. If this was the way Coward's original play finished, then it would have been profoundly subversive in 1928.There are a number of anachronisms sprinkled throughout the movie - some are, I suspect, accidental (the occasional very contemporary turn of phrase jars a bit) while others (Car Wash on the soundtrack in a 1920s style arrangement) are nice touches.This film is a little bit off the wall, but I liked it a lot.
Delightful and comedic
posted on 08 May 2009This film is about the battles between the newly married Larita Whitaker and her mother in law inside the mansion of a dysfunctional British noble family.A period piece can be stiff and boring, but "Easy Virtue" has such a contemporary take that it is refreshingly entertaining. Every set is delightfully decorated, and every scene is masterfully constructed. Acting is uniformly good, especially Kristin Scott Thomas who is amazing as a rigid and unfriendly mother."Easy Virtue" transforms the bitter but common feud between in laws into an entertaining piece of comedy. It is certainly worth watching for 90 minutes of intelligent fun.
A Star is Born
posted on 06 May 2009Very few people out there can call themselves stars. Some have benefited from teaming with charismatic performers and surrounding themselves from a fantastic public relations team. It's fantastic to see when a relatively unknown performer bursts from the screen and dazzles us with her musical talent, her charisma, and most importantly is able to show us her acting chops.Kirsten Scott-Thomas has proved herself a superb performer, and it's always a pleasure to see her films benefit from her exquisite looks, too. In "Easy Virtue". while playing the mother in law from hell, she meets her match, in Larits (Jessica Biel), giving us a dazzling display of fireworks, not seen since the classic 30's beauties graced the silver screen. It's like watching the ghosts of Leigh, Lombard, Stanwyck, and Harlow inspire Biel to don some amazing outfits to match her intense personality and dazzling charm, as she comes into an English manor and tries to conquer old traditions.Noel Coward's play is the basis for a comedy of manners delightfully interpreted by a very talented group of performers, led by Scott and Thomas, a match made in heaven, as they try to outwit and outclass each other with their respective resources. Scott-Thomas allies herself with other members of her class and an acid wit. Biel proves herself that she can hold her own with her natural talents and plenty of charm. The difference between these two women is that one is able to see through the defensive layers of others, wasting no time in hiding herself under any pretense or fearing anyone's criticism.Biel is a woman with a past, someone who deals with the good and bad life has to offer and tries to make the best of it. "Easy Virtue" is Biel's film, and she has plenty of showpieces to demonstrate how far she can go in the future. In particular, one is bound to agree that the piece of Poopy's demise ranks among the funniest scenes ever put on film, and it will take forever to come down from the high of watching Biel and Firth's musical number, and as if this is not enough, the opening number is flawlessly sung by her, too.Prepare to have a grand time at the movies, with a film that has no dead time, plenty of gorgeous visuals, a terrific musical score, and a pair of classic flawless diamonds at its center: Thomas and Biel, proving to us that there is still hope in Hollywood, and talent always comes through.
Entertaining from start to finish
posted on 04 May 2009I really enjoyed this movie. If there's one thing that I want to see in every movie, it's witty dialogue and I was certainly not disappointed on that front. But with Noel Coward, how could I be? Stephen Elliot assembled the perfect cast, all of whom fit their roles perfectly. Colin Firth and Kristin Scott Thomas have never turned in a bad performance. I was particularly (and pleasantly) surprised at Jessica Biel's acting. She was excellent and clearly doesn't get the recognition that she deserves as an actress. I don't think I've seen her act in anything since she was in "7th Heaven" 800 million years ago so I didn't know what to expect. There was never a false note in her performance and I can't praise her enough. The sole reason that the film misses out on a 10/10 rating is that I thought it'd be more comic and heart warming that it turned out to be. That was the only disappointment. One thing I did find distracting is that it's said several times that Larita, Jessica Biel's character, is quite a bit older than Ben Barnes' character John Whittaker whereas, in real life, he's actually older than her although not by much. I found it hard to suspend my disbelief at times because of this but it's a very minor thing really.
sexy, sassy and fun!
posted on 20 Apr 2009Although set in Rural England after the War Stephan Elliott has made a very relevant and now film. His intelligent film making will not be wasted on fun loving film goers as Easy Virtue is smattered with fantastic one liners and breathtaking cinematography. Only Elliott could get away with flipping the camera to introduce the wonderful Biel as she enters a new life of structured mayhem. The belly aching laughs let us realize that a sense of humor is a necessity as today's high pressure stakes remove us from life's simple pleasures. The message is simple and the struggles real as virtue reminds us that keeping the family unit together is quite possibly the most demanding yet satisfying task we will undertake in our lives, a task that no matter how trying is essential to our own sanity! An outstanding cast deliver the directors dreams in what has to be a timeless classic in the true sense of purist film making. You won't see big explosions or cars turning into robots but you will escape the outside world for 93 minutes and enjoy the ride like a comedy trip on the holodeck.
Easy Virtue is a delightful old British comedy based upon a play.
posted on 14 Apr 2009The movie captures a real sensation of being back in England in the 1920s. It's a light comedy and easy to watch. Perfect Popcorn movie!**STORYLINE: 2 Stars**The movie's storyline is continuous and gets the job done, there shouldn't be problems on this point... The movie as a whole is quite easy to watch!**MUSIC: 4 stars**The music fits in wonderfully with the movie and certainly sets the tone throughout! wonderful work here!**HUMOUR: 2 Stars**The movie's quite funny, but nothing spectacular. It more quaint humour rather than outright hilarity.**ACTING: 2 stars**The acting in this movie was neither good nor bad, just got the job done.**COLIN FIRTH: 3 Stars**Colin Firth's work in this movie was quite good and many commendations to him in this role!**BEN BARNES: 2 Stars**Ben Barnes' role in this movie wasn't particularly special, though I blame this on the director rather than on Barnes himself. Though Ben Barnes fans will enjoy this movie as they will get to see a fair amount of their favourite actor.**CONCLUSION**I really enjoyed this movie, and I'm sure if you take this for what it is you will be able to enjoy it as much as I did.Good viewing!
You'll love this movie
posted on 12 Apr 2009I just love this movie. I didn't know what to expect entering the movie theater because I haven't read any reviews before seeing it. I am glad I chose to see it. The plot: nice story, it could happen to anyone; and I like how the main character managed the situation after all. The actors: I just love Kirstin Scott-Thomas(British actors have something that make a difference,most of them are beginning their career in theater, their act is more profound)I saw her in "The English patient". She's a gorgeous lady. Jessica Biel was a nice surprise too, nice Tango dancing. The filming locations: I just love England.I don't know...every detail made a good impression on me. A great surprise.Thank you!
Snapping Good Fun From Stephen Elliot (by way of Noel Coward)
posted on 11 Mar 2009The year is 1929, and Larita Huntington,an American race car driver (and modern day flapper)has married John Whittaker,a younger English man,after a whirl wind relationship. When they arrive to meet her new in laws,they are met by a disapproving family (age old British tradition,you know). The rest of the way makes for a sheer corker of a film. Jessica Biel (I Now Pronounce You Chuck & Larry) shines as Larita,while Ben Barnes swoons head over heels over his new bride,much to the chagrin of his Mother (an always welcome Kristin Scott Thomas,last seen in 'I've Loved You For So Long'),and two doting sisters. The screenplay is adapted from a 1925 stage play by Noel Coward (which itself was filmed in 1928 by none other than Alfred Hitchcock). The cast is rounded out by Colin Firth as John's world weary Father. The screenplay snaps with the same kind of wry,sardonic wit that Coward was known for in his day. A fine period piece for those who prefer brains over flash & bombast in films. Rated PG-13 by the MPAA,for tasteful sexual content,some brief nudity,a bit of naughty language & pervasive smoking.
Class Act
posted on 23 Feb 2009It's always amusing when minor talents convince themselves that not only are they Major and not Bush leaguers but actually superior to the Old Masters. Noel Coward had his share of flops (Sirocco, anyone) but these were far outweighed by his triumphs and two things he did as well as anyone and better than most was 1) constructing a solid play and 2) lacing it with brittle dialogue, twin gifts sadly denied to Stephan Elliott and Sheridan Jobbins though they may be the only ones unaware of this. They have a combined total - including television - of eleven writing credits against literally dozens by Coward but they haven't allowed that to prevent them taking a Coward original and contriving to bleed all the Style and Wit out of it. Hands up, for example, anyone who has ever encountered the word 'plonker' in the Collected Works of Noel Coward. As if to deliberately antagonise viewers Elliott sprinkles Coward and Porter numbers throughout then proceeds to contrast them with garbage like Car Wash and Sex Bomb, a trick he no doubt picked up from fellow Australian Baz Luhrman via the latter's execrable Moulin Rouge. On the credit side there is some very passable period shooting, the costumes are mostly authentic and there is Kristin Scott Thomas to look at and listen to. If you've never seen a Coward play or film you might even enjoy this, if you have ... be warned.
The 20s never die
posted on 23 Feb 2009It's become a genre in itself; these stories of English aristocracy 90 years ago. This is based on a Noel Coward play. It doesn't make things worse, because Coward remains rather underestimated, due to his main subject...yes, English aristocracy of the not so past.Here, the Detroit princess marries the young heir. His mother is a monster and his sisters aren't much better. A power struggle starts and it's a rather intelligent struggle, not at least because of this tremendous acting by Kristin Scott Thomas.Lots of foxes, green fields and ladies' cardigans here. But they are all quite entertaining and far from stupid.
Curate's Egg
posted on 21 Feb 2009Rather a curate's egg - decidedly mixed. It's not really witty enough for Coward - the first fifteen minutes contain lots of aphorisms that you cannot hear because they are garbled too quickly - and it's not really dramatic enough - snooty twenties English aristos don't like pushy modern American girl. Big deal, but where's the drama in that that we haven't seen a dozen times before. You can't dip in and out of a play to suit attention deficit audiences of today and expect a coherent entity. Acting is best part - Jessica Biel triumphs and looks good - just like most blonde US stars, eg Naomi Watts, Scarlett Johanneson. Kristin Scott Thomas reprises her Gosford Park role, and Colin Firth waits around like a spare P**** until called upon to tango. Oh, and he throws in a bit of acting regarding his 'damaged' psyche over the Great War, just to prove he's worth his salary. The rest of the aristos do not cut the mustard, and Ben Barnes as a heart throb - give us a break! And a mention for Kris Marshall - freed from the BT adverts - to give yet another butler who drinks and sees everything for what it is. Come back John Gielgud all is forgiven! Just alright really.
a soapy and steamy social comedy in inter-war England
posted on 12 Aug 2009The year is 1928, the place is the English country site, and the social environment is an aristocratic domain whose owners seem to be unaware of the crisis to follow and the economic and social demise of their own class. Sure, some of the heroes as the estranged owner of the domain seem to carry the memories and pains from the Great War, but the rest of the family, his wife, two daughters, son, as well as neighbors or servants seem to carry on their easy-go style of life. The appearance of the fresh bride Larita is a shock of classes and cultures, she is everything the inter-war England can be shocked about - an American, a second time married woman, more aged than the broom and too independent to ever fit. It would be a Chekhov meets Ibsen drama if it was not spoken in such aristocratic British English, and if the dialogs of author Noel Coward who wrote the original play would not dress the whole conflict in an atmosphere of wit and intellectual amusement. While the development of the action and of the characters do evolve towards revealing some of the darker secrets of the past, an inevitable end maybe sad, maybe happy looks unusually fit despite apparently being so conventional.As in many English films acting is the key of the charm of this film. Director Stephan Eliott has only one other big success in his record, the almost cult Australian comedy 'The Adventures of Priscilla, Queen of the Desert' but he seems to have spent the one a half decade since the release of that film doing good theater, and this is now his new film and the acting here looks like. Jessica Biel who carried the lead feminine role in 'The Illusionst' brings to screen a bunch of charm and charisma as Larita. She is faced by Kristin Scott Thomas as the aristocratic mother of family who will win the local family war at the price of losing her whole universe. Colin Firth looks slightly miscast for the majority of the time in this movie, but his character is after all a different type of animal than the rest of the family so miscast is not bad in this case. It is worth waiting to see the final recuperation and revenge he takes at the end of the movie. The rest of the cast does a good job, cinematography is good without being too original, and overall this rather classical British comedy provides more satisfaction and entertainment than one would have expected.