Film Review – A RAINY DAY IN NEW YORK (2019)

Elle Fanning and Timothée Chalamet in A Rainy Day in New York (2019)A RAINY DAY IN NEW YORK (USA, 2019) **½
      Distributor: Signature Entertainment (UK); Production Company: Gravier Productions / Perdido Productions; Release Date: 26 July 2019 (Poland), 5 June 2020 (UK – internet); Filming Dates: began 11 September 2017; Running Time: 92m; Colour: Colour; Sound Mix: DTS (DTS: X) | Dolby Atmos | Dolby Digital; Film Format: D-Cinema; Film Process: Digital Intermediate (4K) (master format), F65 RAW (4K) (source format); Aspect Ratio: 2.00:1; BBFC Cert: 12.
      Director: Woody Allen; Writer: Woody Allen; Executive Producer: Ronald L. Chez, Howard E. Fischer, Adam B. Stern; Producer: Erika Aronson, Letty Aronson; Director of Photography: Vittorio Storaro; Film Editor: Alisa Lepselter; Casting Director: Patricia DiCerto; Production Designer: Santo Loquasto; Set Decorator: Sarah Dennis; Costumes: Suzy Benzinger; Make-up: Stacey Panepinto; Sound: Robert Hein.
      Cast: Timothée Chalamet (Gatsby), Elle Fanning (Ashleigh), Selena Gomez (Chan), Jude Law (Ted Davidoff), Liev Schreiber (Roland Pollard), Diego Luna (Francisco Vega), Suzanne Smith (Roland’s Assistant), Olivia Boreham-Wing (Roland’s Assistant), Ben Warheit (Alvin Troller), Griffin Newman (Josh), Gus Birney (Student Film Crew), Elijah Boothe (Student Film Crew), Will Rogers (Hunter), Annaleigh Ashford (Lily), Frank Marzullo (Screening Room Tech), Kirby Mitchell (Bartender), Rebecca Hall (Connie), Mary Boyer (Aunt Grace), Ted Neustadt (Uncle Tyler), Dylan Prince (Studio Guard).
      Synopsis: Two young people arrive in New York for a weekend where they are met with bad weather and a series of adventures.
      Comment: Allen returns to modern-day New York for his latest romantic comedy, but the setting and the characters are at odds. The movie plays like it should be set in the 1940s or 1950s, with its references to the great American songbook and the ideals expressed an anachronism coming from its college lead characters. The themes explored are nothing new for Allen, who looks at self-obsessed individuals trying to find a romantic pot of gold at the end of the rainbow. The story fails to come alive as we cannot buy into the characters as anything but a contrivance to work on their angsts. Along the way there are witty lines and Fanning has the charm of a Diane Keaton. Chalamet also does his best to breathe life into his character, but we can never really buy into his emotional baggage. At 84 years old and with more than 50 movies under his belt maybe Allen has likely said all he has to say and therefore repetition of themes and stories is inevitable. Here, however, in his attempt to freshen up his approach his use of young characters is a mistake. Allen cannot write dialogue that feels authentic spoken by the modern generation. He would be best to either using older characters or choose a period setting.

Film Review – THE SECOND BEST EXOTIC MARIGOLD HOTEL (2015)

The Second Best Exotic Marigold Hotel' Begins the New WFS SeasonTHE SECOND BEST EXOTIC MARIGOLD HOTEL (UK/USA, 2015) ***
      Distributor: 20th Century Fox (UK) / Fox Searchlight Pictures (USA); Production Company: Blueprint Pictures; Release Date: 26 February 2015 (UK), 6 March 2015 (USA); Filming Dates: began 10 January 2014; Running Time: 122m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: 35 mm (anamorphic) (Kodak Vision 2383), D-Cinema; Film Process: Digital Intermediate (2K) (master format), F65 RAW (4K) (source format); Aspect Ratio: 2.35:1; BBFC Cert: PG.
      Director: John Madden; Writer: Ol Parker (based on a story by Ol Parker and John Madden); Executive Producer: Michael Dreyer, Jonathan King, John Madden, Jeff Skoll; Producer: Graham Broadbent, Peter Czernin; Associate Producer: Tabrez Noorani; Director of Photography: Ben Smithard; Music Composer: Thomas Newman; Film Editor: Victoria Boydell; Casting Director: Michelle Guish, Seher Latif; Production Designer: Martin Childs; Art Director: Dilip More; Set Decorator: Ed Turner; Costumes: Alison Lewis, Riyaz Ali Merchant; Make-up: Daniel Phillips; Sound: Ian Wilson; Visual Effects: Fay McConkey, Thomas Proctor, Emma Moffat.
      Cast: Judi Dench (Evelyn Greenslade), Maggie Smith (Muriel Donnelly), Bill Nighy (Douglas Ainslie), Dev Patel (Sonny Kapoor), Richard Gere (Guy Chambers), Celia Imrie (Madge Hardcastle), Ronald Pickup (Norman Cousins), Penelope Wilton (Jean Ainslie), Diana Hardcastle (Carol Parr), Tina Desai (Sunaina), Claire Price (Laura Ainslie), Lillete Dubey (Mrs. Kapoor), David Strathairn (Ty Burley), Tamsin Greig (Lavinia Beech), Shazad Latif (Kushal), Rajesh Tailang (Babul), Denzil Smith (Mr. Dharuna), Sid Makkar (Jay), Avijit Dutt (Nimish), Seema Azmi (Anokhi).
      Synopsis: As the Best Exotic Marigold Hotel has only a single remaining vacancy – posing a rooming predicament for two fresh arrivals – Sonny pursues his expansionist dream of opening a second hotel.
      Comment: A more-of-the-same sequel, which coasts on the charm and skills of its excellent cast and vibrant locations. The plot lacks originality and veers too far toward a sit-com approach at the expense of depth in characterisation, but the vibe is good. Patel and Smith are looking to expand their hotel business and look for sponsorship from the US. When Gere arrives, Patel believes he is an inspector charged with assessing the business and he goes out of his way to charm him – echoes of Fawlty Towers. The cast is in good form again but has less to get their teeth into here and the film comes across as both unnecessary yet still entertaining.

Film Review – THE BEST EXOTIC MARIGOLD HOTEL (2011)

The-best-exotic-marigold-hotel.jpgTHE BEST EXOTIC MARIGOLD HOTEL (UK/USA/UAE, 2011) ****
      Distributor: 20th Century Fox; Production Company: Blueprint Pictures; Release Date: 30 November 2011 (Italy), 17 February 2012 (UK), 25 May 2012 (USA); Filming Dates: began 10 October 2010; Running Time: 124m; Colour: DeLuxe; Sound Mix: Dolby | SDDS; Film Format: 35 mm (anamorphic) (Fuji Eterna-CP 3514DI), D-Cinema; Film Process: Digital Intermediate (2K) (master format), Super 35 (source format); Aspect Ratio: 2.35:1; BBFC Cert: PG-13/12.
      Director: John Madden; Writer: Ol Parker (based on the novel “These Foolish Things” by Deborah Moggach); Executive Producer: Jonathan King, Jeff Skoll, Ricky Strauss; Producer: Graham Broadbent, Peter Czernin; Director of Photography: Ben Davis; Music Composer: Thomas Newman; Film Editor: Chris Gill; Casting Director: Michelle Guish, Seher Latif; Production Designer: Alan Macdonald; Art Director: Peter Francis; Set Decorator: Tina Jones; Costumes: Louise Stjernsward; Make-up: Beverley Binda; Sound: Ian Wilson; Special Effects: Shiva Nanda; Visual Effects: Karen Clarke, Fay McConkey.
      Cast: Judi Dench (Evelyn Greenslade), Bill Nighy (Douglas Ainslie), Dev Patel (Sonny Kapoor), Tom Wilkinson (Graham Dashwood), Maggie Smith (Muriel Donnelly), Penelope Wilton (Jean Ainslie), Ronald Pickup (Norman Cousins), Celia Imrie (Madge Hardcastle), Tina Desai (Sunaina), Sid Makkar (Jay), Lillete Dubey (Mrs. Kapoor), Diana Hardcastle (Carol), Seema Azmi (Anokhi), Paul Bhattacharjee (Dr. Ghujarapartidar), Liza Tarbuck (Staff Nurse), Denzil Smith (Viceroy Club Secretary), Honey Chhaya (Young Wasim), Bhuvnesh Shetty (Muriel’s Physiotherapist), Rajendra Gupta (Manoj), Jay Villiers (Evelyn’s Son).
      Synopsis: British retirees travel to India to take up residence in what they believe is a newly restored hotel. Less luxurious than its advertisements, the Marigold Hotel nevertheless slowly begins to charm in unexpected ways.
      Comment: The top-notch cast is the big draw to this adaptation of Deborah Moggach’s novel “These Foolish Things”. They are helped by a witty script, which manages to navigate the more predictable and familiar elements of the story. A group of elderly Brits each have their own reason for the late-in-the-day change to their lives when they decide to stay at a residential hotel for the elderly in Jaipur, India. the hotel is run by Patel’s dreamer. Once there, each of the residents finds their own way to come to terms with what they had been looking for in the later years of their lives. It is a charming and winning film which coasts on the supremely talented cast and the exotic location. Those looking for more depth, will not find it in abundance here despite the occasional moment of poignancy, but what they will find is an entertainment that has more than enough attraction to win them over. Followed by THE SECOND BEST EXOTIC MARIGOLD HOTEL (2015).

Film Review – MIGHTY APHRODITE (1995)

MIGHTY APHRODITE (USA, 1995) ***½
      Distributor: Miramax; Production Company: Sweetland Films / Magnolia Pictures; Release Date: 1 September 1995 (Italy), 27 October 1995 (USA), 12 April 1996 (UK); Filming Dates: 3 October 1994 – 16 December 1994; Running Time: 95m; Colour: Technicolor; Sound Mix: Dolby SR (Mono); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: 15.
      Director: Woody Allen; Writer: Woody Allen; Executive Producer: J.E. Beaucaire, Jean Doumanian; Producer: Robert Greenhut; Associate Producer: Thomas A. Reilly; Director of Photography: Carlo Di Palma; Music Supervisor: Dick Hyman; Film Editor: Susan E. Morse; Casting Director: Juliet Taylor; Production Designer: Santo Loquasto; Art Director: Tom Warren; Set Decorator: Susan Bode; Costumes: Jeffrey Kurland; Make-up: Fern Buchner, Romaine Greene; Sound: Robert Hein.
      Cast: Woody Allen (Lenny), Mira Sorvino (Linda Ash), Helena Bonham Carter (Amanda), Michael Rapaport (Kevin), F. Murray Abraham (Leader), Olympia Dukakis (Jocasta), David Ogden Stiers (Laius), Jack Warden (Tiresias), Peter Weller (Jerry Bender), Danielle Ferland (Cassandra), Claire Bloom (Amanda’s Mother), Donald Symington (Amanda’s Father), Steven Randazzo (Bud), J. Smith-Cameron (Bud’s Wife), Jeffrey Kurland (Oedipus), Jimmy McQuaid (Max), Paul Giamatti (Extras Guild Researcher), Yvette Hawkins (School Principal), Jennifer Greenhut (Lenny’s Secretary), Kenneth Edelson (Ken).
      Synopsis: When he discovers his adopted son is a genius, a New York sportswriter seeks out the boy’s birth mother: a prostitute.
      Comment: Allen is a sportswriter married to Bonham Carter, an art curator. When they decide to adopt a baby boy who grows up to be a highly intelligent boy, Allen resolves to track down the boy’s mother. When he discovers Sorvino is a porn star, Allen resolves to put her back on the right path, but meanwhile, his own marriage is in trouble as Bonham Carter is wooed by Weller. In one of his most adult comedies, many of Allen’s typical tropes are evident – fragile relationships, personal insecurities, the need to educate and mentor – but there is a freshness in the way they are presented that makes the film a pleasure to watch. A witty narration is provided by a Greek chorus and the story whistles along to its ironic finale. Sorvino is wonderful as the porn star totally lacking in self-awareness and whose naivety charms Allen. The actor-director delivers many funny one-liners as he takes it upon himself to mentor her. The supporting cast is strong with Abraham the leader of the Greek chorus and Rapaport as a dim-witted boxer suckered by Allen into a blind date with Sorvino. Yes, the ending feels a little overly-contrived, but the piece is styled as a parable and largely works in this format. Look out for the many trinkets in Sorvino’s apartment. Dick Hyman acts as music coordinator and arranger presenting a number of standards on the soundtrack. Sorvino was awarded an Oscar as Best Supporting Actress with Allen’s screenplay also nominated.

Film Review – ALIAS SMITH AND JONES (1971)

alias068.jpgALIAS SMITH AND JONES (TV) (USA, 1971) ***½
      Distributor: American Broadcasting Company (ABC); Production Company: Universal Television; Release Date: 5 January 1971 (USA), 19 April 1971 (UK); Filming Dates: 8-28 October 1970; Running Time: 74m; Colour: Technicolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.33:1; BBFC Cert: PG.
      Director: Gene Levitt; Writer: Glen A. Larson, Douglas Heyes (based on a story by Glen A. Larson); Executive Producer: Frank Price; Producer: Glen A. Larson; Director of Photography: John M. Stephens; Music Composer: Billy Goldenberg; Film Editor: Bob Kagey; Art Director: George C. Webb; Set Decorator: Mickey S. Michaels; Costumes: Grady Hunt; Make-up: Bud Westmore, Larry Germain; Sound: Melvin M. Metcalfe Sr.
      Cast: Pete Duel (Hannibal Heyes (alias Joshua Smith)), Ben Murphy (Jed ‘Kid’ Curry (alias Thaddeus Jones)), Forrest Tucker (Deputy Harker Wilkins), Susan Saint James (Miss Porter), James Drury (Sheriff Lom Trevors), Jeanette Nolan (Miss Birdie Pickett), Earl Holliman (Wheat), Dennis Fimple (Kyle), Bill Fletcher (Kane), John Russell (Marshall), Charles Dierkop (Shields), Bill McKinney (Lobo), Sid Haig (Outlaw), Jerry Harper (Outlaw), Jon Shank (Outlaw), Peter Brocco (Pincus), Harry Hickox (Bartender), Owen Bush (Engineer), Julie Cobb (Young Girl).
      Synopsis: A pair of outlaws seeking amnesty from the Governor must stay incognito and out of trouble in a town while a friend pleads their case. The wait is complicated by a lovely bank manager and the arrival of members of their former gang.
      Comment: Light-hearted spin on BUTCH CASSIDY AND THE SUNDANCE KID (1969) coasts on the charm of Duel and Murphy who are backed by a strong guest cast. Duel and Murphy play Hannibal Heyes and Kid Curry, two outlaws who are seeking amnesty as technology and improved communication systems put their train and bank robbing days behind them. The rest of their gang, led by the excellent Holliman, arrive in a town where Duel and Murphy have taken on honest jobs working as security in Saint James’ bank whilst Sheriff Drury puts their case to the governor. Tucker also scores as Drury’s dim-witted deputy, whilst Larson and Howard’s script is witty and entertaining. Levitt directs with a good feel for the tone required. This was the pilot for the subsequent TV series (1971-73), which ran for three seasons and 50 episodes with Roger Davis replacing Duel midway through the second season following the actor’s tragic suicide.

Film Review – LOVE AND DEATH (1975)

LOVE AND DEATH (USA, 1975) ****
      Distributor: United Artists; Production Company: Jack Rollins & Charles H. Joffe Productions; Release Date: 10 June 1975 (USA), October 1975 (UK); Filming Dates: 21 September 1974-late February 1975; Running Time: 85m; Colour: DeLuxe; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: PG/PG.
      Director: Woody Allen; Writer: Woody Allen; Executive Producer: Martin Poll; Producer: Charles H. Joffe; Associate Producer: Fred T. Gallo; Director of Photography: Ghislain Cloquet; Music Composer: Sergei Prokofiev; Music Supervisor: Felix Giglio; Film Editor: Ralph Rosenblum, Ron Kalish; Casting Director: Miriam Brickman, Juliet Taylor, Blanche Wiesenfeld; Art Director: Willy Holt; Costumes: Gladys de Segonzac; Make-up: Anatole Paris, Marie-Madeleine Paris, Renée Guidet; Sound: Dan Sable; Special Effects: Kit West.
      Cast: Woody Allen (Boris), Diane Keaton (Sonja), Georges Adet (Old Nehamkin), James Tolkan (Napoleon), Harold Gould (Anton), Olga Georges-Picot (Countess Alexandrovna), Beth Porter (Anna), Zvee Scooler (Father), Jessica Harper (Natasha), Féodor Atkine (Mikhail (as Feodor Atkine)), Despo Diamantidou (Mother), Yves Barsacq (Rimsky (as Yves Barsaco)), Yves Brainville (Andre), Brian Coburn (Dimitri), Tony Jay (Vladimir Maximovitch), Howard Vernon (General Leveque), Alfred Lutter III (Young Boris), Georges Adet (Old Nehamkin), Sol Frieder (Voskovec (as Sol L. Frieder)), Lloyd Battista (Don Francisco).
      Synopsis: In czarist Russia, a neurotic soldier and his distant cousin formulate a plot to assassinate Napoleon.
      Comment: Woody Allen channels Bob Hope (with nods to Chaplin and Groucho) and European cinema (notably Ingmar Bergman) in this very funny parody of Russian literature. Allen is the youngest of three brothers and is in love with the intellectual Keaton, but she is in love with Allen’s macho older brother. Allen and his brothers go off to fight in the war against Napoleon and after inadvertently becoming a hero, Allen gets to marry Keaton, who expects him to be killed in a duel with Gould. The whole thing then turns into an assassination plot against Napoleon (Tolkan). Yes, the plot is as convoluted as all that, but it is also a great vehicle for Allen to deliver his one-liners with zing and some visual slapstick. His targets include his favourite neuroses about sex and death. Keaton is again a great foil for Allen who directs with more assuredness than in any of his efforts up to this point. He was one film away from his breakthrough hit ANNIE HALL. Shot on location in Hungary and France.

Film Review – THE INVISIBLE MAN (1933)

THE INVISIBLE MAN (USA, 1933) ****
      Distributor: Universal Pictures; Production Company: Universal Pictures; Release Date: 3 November 1933 (USA), 30 November 1933 (UK); Filming Dates: August 1933; Running Time: 71m; Colour: B&W; Sound Mix: Mono (Western Electric Noiseless Recording Sound System); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.37:1; BBFC Cert: PG.
      Director: James Whale; Writer: R.C. Sherriff (based on the novel by H.G. Wells); Executive Producer: Carl Laemmle; Producer: Carl Laemmle Jr.; Director of Photography: Arthur Edeson; Music Composer: Heinz Roemheld (uncredited); Music Supervisor: Gilbert Kurland (uncredited); Film Editor: Ted J. Kent;  Art Director: Charles D. Hall; Make-up: Jack P. Pierce; Sound: Gilbert Kurland (uncredited); Visual Effects: John P. Fulton.
      Cast: Claude Rains (Dr. Jack Griffin aka The Invisible Man), Gloria Stuart (Flora Cranley), William Harrigan (Dr. Arthur Kemp), Henry Travers (Dr. Cranley), Una O’Connor (Jenny Hall), Forrester Harvey (Herbert Hall), Holmes Herbert (Chief of Police), E.E. Clive (Constable Jaffers), Dudley Digges (Chief Detective), Harry Stubbs (Inspector Bird), Donald Stuart (Inspector Lane), Merle Tottenham (Millie), Walter Brennan (Bicycle Owner (uncredited)), Robert Brower (Farmer (uncredited)), John Carradine (Informer Suggesting Ink (uncredited)), Dwight Frye (Reporter (uncredited)), Bob Reeves (Detective Hogan (uncredited)).
      Synopsis: A scientist finds a way of becoming invisible, but in doing so, he becomes murderously insane.
      Comment: H.G. Wells’ novel is brought to the screen in the stylish hands of director Whale and nuanced voice performance by Rains, who is only visible in the final shot. Rains has experimented with a serum that has made him invisible. Madness and megalomania increasingly take him over in his fruitless search for a cure. Rains’ vocal inflexions are both haunting and comedic and the material is often played for straight comedy. The character’s psychotic undercurrent becomes apparent as he commits a series of murders – firstly to protect his experiment and increasingly as spite, notably a scene where he derails a passenger train. The shifting tone is skilfully handled by Whale whose visual creativity along with the wonderful invisible effects by Fulton ensure the film remains absorbing throughout. The supporting performances are variable from O’Connor’s screeching innkeeper’s wife to a remarkably mannered Harrigan as Rains’ former assistant who Rains seeks revenge on for his betrayal. The movie was highly influential on the horror and fantasy genres and made a star out of Rains. Followed by THE INVISIBLE MAN RETURNS (1940) and THE INVISIBLE MAN’S REVENGE (1944).

Film Review – SPRING AND PORT WINE (1970)

SPRING AND PORT WINE (UK, 1970) ***
      Distributor: Anglo-Amalgamated Film Distributors; Production Company: Memorial Enterprises; Release Date: 19 February 1970; Filming Dates: began 28 April 1969; Running Time: 101m; Colour: Technicolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.66:1; BBFC Cert: PG.
      Director: Peter Hammond; Writer: Bill Naughton (based on the stage play by Bill Naughton); Executive Producer: Roy Baird; Producer: Michael Medwin; Director of Photography: Norman Warwick; Music Composer: Douglas Gamley; Film Editor: Fergus McDonell; Casting Director: Miriam Brickman (uncredited); Production Designer: Reece Pemberton; Costumes: Elsa Fennell; Make-up: Bunty Phillips; Sound: Robin Gregory, Barry McCormick.
      Cast: James Mason (Rafe Crompton), Diana Coupland (Daisy Crompton), Hannah Gordon (Florence Crompton), Susan George (Hilda Crompton), Rodney Bewes (Harold Crompton), Len Jones (Wilfred Crompton), Keith Buckley (Arthur Gasket), Avril Elgar (Betsy-Jane Duckworth), Adrienne Posta (Betty Duckworth), Frank Windsor (Ned Duckworth), Arthur Lowe (Mr. Aspinall), Marjorie Rhodes (Mrs. Gasket), Bernard Bresslaw (Lorry Driver), Joseph Greig (Allan (T.V. Man)), Christopher Timothy (Joe (T.V. Man)), Ken Parry (Pawnbroker), Reginald Green (Bowler 1), Jack Howarth (Bowler 2), Bryan Pringle (Bowler 3), John Sharp (Bowler 4).
      Synopsis: A stern father and lenient mother try to deal with the ups and downs of their four children’s lives in working-class Bolton.
      Comment: Bill Naughton adapted his own stage play for the big screen with this battle of wills between the generations within a northern family. The location shooting in Bolton adds a level of authenticity to a script which comes across as a little over-preachy and with a finale that doesn’t feel real. However, a game cast delivers some witty dialogue and whilst Mason was miscast, he makes a good stab at his part of the stubborn family patriarch. Bewes also scores as the insolent son who doesn’t quite have the courage of his convictions and Coupland as the wife torn between loyalty to her husband and her kids. A time capsule caught slightly out of sync.

Film Review – THE ITALIAN JOB (1969)

THE ITALIAN JOB (UK, 1969) ***½
      Distributor: Paramount British Pictures; Production Company: Oakhurst Productions / Paramount Pictures Corporation; Release Date: 5 June 1969 (UK), 3 September 1969 (USA); Filming Dates: began 24 June 1968; Running Time: 99m; Colour: Eastmancolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Panavision (anamorphic); Aspect Ratio: 2.35:1; BBFC Cert: PG.
      Director: Peter Collinson; Writer: Troy Kennedy-Martin; Producer: Michael Deeley; Associate Producer: Robert Porter; Director of Photography: Douglas Slocombe; Music Composer: Quincy Jones; Film Editor: John Trumper; Casting Director: Paul Lee Lander; Production Designer: Disley Jones; Art Director: Michael Knight; Costumes: Dinah Greet (uncredited); Make-up: Freddie Williamson; Sound: John Aldred, Gerry Humphreys, Stephen Warwick; Special Effects: Pat Moore.
      Cast: Michael Caine (Charlie Croker), Noël Coward (Mr. Bridger), Benny Hill (Professor Simon Peach), Raf Vallone (Altabani), Tony Beckley (Freddie), Rossano Brazzi (Beckerman), Margaret Blye (Lorna), Irene Handl (Miss Peach), John Le Mesurier (Governor), Fred Emney (Birkinshaw), John Clive (Garage Manager), Graham Payn (Keats), Michael Standing (Arthur), Stanley Caine (Coco), Barry Cox (Chris), Harry Baird (Big William), George Innes (Bill Bailey), John Forgeham (Frank), Robert Powell (Yellow), Derek Ware (Rozzer).
      Synopsis: Comic caper movie about a plan to steal a gold shipment from the streets of Turin by creating a traffic jam.
      Comment: Visually stylish caper comedy that is typical of its time, mixing late-sixties excess and imagery with stunning locations and quirky performances. Caine and Coward are in good form, with the latter making for a memorable imprisoned crime lord who enjoys all the luxuries of life from his cell. Troy Kennedy Martin’s script appears to have been used lightly by director Collinson. The set pieces – notably the heist and the ironic finale – are the main selling points alongside Douglas Slocombe’s gorgeous photography and Quincy Jones’ witty score.
      Notes: Remade in 2003.

Film Review – THE LOVERS! (1973)

The Lovers!THE LOVERS! (UK, 1973) ***
      Distributor: British Lion Film Corporation; Production Company: British Lion Film Corporation; Release Date: 5 October 1973 (UK); Filming Dates: began 12 June 1972; Running Time: 88m; Colour: Colour; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: 12.
      Director: Herbert Wise; Writer: Jack Rosenthal (based on the TV series created by Jack Rosenthal); Producer: Maurice Foster; Director of Photography: Robert Huke; Music Composer: Carl Davis; Film Editor: Bernard Gribble; Production Designer: Peter Mullins; Costumes: Emma Porteous; Make-up: George Partleton; Sound: Brian Simmons.
      Cast: Richard Beckinsale (Geoffrey Scrimshaw), Paula Wilcox (Beryl Battersby), Susan Littler (Sandra), Rosalind Ayres (Veronica), Anthony Naylor (Neville), Nikolas Simmonds (Roland), Joan Scott (Beryl’s Mum), John Comer (Geoffrey’s Dad), Stella Moray (Geoffrey’s Mum), Pamela Moiseiwitsch (Enid), Bruce Watt (Jeremy), Paul Greenwood (Trainee Manager (Party)), Bernard Latham (‘Handsome’ (Party)), Karen Ford (Foreign Girl (Party)), James Snell (Doctor), Mary Henry (Woman (Jumble Sale)), Serena (Stripper), Margaret Flint (Bookstall Manageress), Ian Gray (Bookstall Assistant).
      Synopsis: Old-fashioned girl Beryl (Wilcox) slaps down the advances of her frustrated boyfriend (Beckinsale), whose clumsy attempts to initiate ‘Percy Filth’ suggest he’s not quite up to speed himself! Like everyone else, Geoffrey and Beryl want to fall in love – or they think they do; like everyone else, since Adam and Eve. But Adam and Eve didn’t live in Manchester in 1972.
      Comment: One of the better of a glut of cinema adaptations of TV sit-coms during the 1970s. This one benefits from a sharp, observational script from Rosenthal and good use of locations in and around Manchester. The leads, Beckinsale and Wilcox, are also likeable in their naivety as they struggle to balance peer group pressure with their own values. The nature of the plot may seem fragmented at times – as if trying to cover a series worth of material in an hour and a half – but the occasional gem shines through. Whilst it may seem rather dated today in the way it tackles its subject matter, it is indicative of the period in which it was made and is, therefore, a nice time capsule comment on relationship ideals in the 1970s.
      Notes: The TV series, The Lovers, ran from 1970-2 for two series and 13 episodes.