VERY ANNIE MARY is a quirky little film written and directed by Sara Sugarman that manages to delve into myriad fantasies and manners and crushed dreams and come out with a thoroughly tender, warm hearted and funny result. There are more interesting characters of all types in this story, each of whom could be expanded into a film all their own.
After a rollicking opening sequence of a bakery delivery van topped with speakers blasting Puccini's 'Nessun dorma' over lovely countryside of Wales - the driver is the town baker Jack Pugh (Jonathan Pryce) who wears a rubber mask and bloated suit that mimic Pavarotti singing along with a recording - we meet the town folk. Jack's daughter Annie Mary (Rachel Griffiths) is in her 30s, stuck as a surrogate wife and slave to her father and his bakery business. She seems loopy and perhaps retarded (socially indeed, if not a bit mentally) and has borne the brunt of her father's scorn since her mother died when she was fifteen, just when Annie had won a singing competition judged by Pavarotti. The loss of her mother places her in the role of 'wife' to the dastardly John who daily convinces her she is a nothing while he pursues his avocation of singing for the townsfolk as the Voice of the Valley. Annie's only remnant of her past survives in her teaching voice lessons to such odd folk as Hob (Ioan Gruffudd) and Nob (Matthew Rhys), gay friends of hers with delusions of Hollywood. Her closest friend is teenage Bethan (Joanna Page) who is ill.
Annie Mary spies a house on the market, desperately wants to get out from under her father's control to make a life of her own, and shares this with Bethan. During one of his concerts John collapses with a stroke and it appears Annie's dreams of independence are crushed. The townsfolk decide they want to befriend Bethan and monies are gathered to send Bethan on her 'dream' - a trip to Disneyland. In a hilarious talent show meant to raise funds for the Disneyland trip Annie and her friends win the contest and the money meant for Bethan's trip is entrusted to Annie. Annie again stumbles and squanders the funds on her own dreams by buying sensual satisfaction. Broken by her own mistake, Annie confesses to Bethan and Bethan replies that her only dream before dying is to hear Annie sing. And sing Annie does, in probably the most touching performance of Puccini's 'O mio bambino caro'. At last Annie Mary has regained her self-respect and has a glimpse of her own life. The closing multiple resolutions of the film are full of surprises of the best kind.
Every character in this delightful film is well acted, but there are moments by some, like the very weird, besotted minister (Kenneth Griffith), that certainly deserve awards for brilliance. VERY ANNIE MARY is a rich, multilayered, magical film with outstanding performances by Rachel Griffiths and Jonathan Pryce. The only fault one might find is that much of the dialogue is indecipherable due to the Welsh accents that challenge the ear! Highly recommended. Grady Harp
After a rollicking opening sequence of a bakery delivery van topped with speakers blasting Puccini's 'Nessun dorma' over lovely countryside of Wales - the driver is the town baker Jack Pugh (Jonathan Pryce) who wears a rubber mask and bloated suit that mimic Pavarotti singing along with a recording - we meet the town folk. Jack's daughter Annie Mary (Rachel Griffiths) is in her 30s, stuck as a surrogate wife and slave to her father and his bakery business. She seems loopy and perhaps retarded (socially indeed, if not a bit mentally) and has borne the brunt of her father's scorn since her mother died when she was fifteen, just when Annie had won a singing competition judged by Pavarotti. The loss of her mother places her in the role of 'wife' to the dastardly John who daily convinces her she is a nothing while he pursues his avocation of singing for the townsfolk as the Voice of the Valley. Annie's only remnant of her past survives in her teaching voice lessons to such odd folk as Hob (Ioan Gruffudd) and Nob (Matthew Rhys), gay friends of hers with delusions of Hollywood. Her closest friend is teenage Bethan (Joanna Page) who is ill.
Annie Mary spies a house on the market, desperately wants to get out from under her father's control to make a life of her own, and shares this with Bethan. During one of his concerts John collapses with a stroke and it appears Annie's dreams of independence are crushed. The townsfolk decide they want to befriend Bethan and monies are gathered to send Bethan on her 'dream' - a trip to Disneyland. In a hilarious talent show meant to raise funds for the Disneyland trip Annie and her friends win the contest and the money meant for Bethan's trip is entrusted to Annie. Annie again stumbles and squanders the funds on her own dreams by buying sensual satisfaction. Broken by her own mistake, Annie confesses to Bethan and Bethan replies that her only dream before dying is to hear Annie sing. And sing Annie does, in probably the most touching performance of Puccini's 'O mio bambino caro'. At last Annie Mary has regained her self-respect and has a glimpse of her own life. The closing multiple resolutions of the film are full of surprises of the best kind.
Every character in this delightful film is well acted, but there are moments by some, like the very weird, besotted minister (Kenneth Griffith), that certainly deserve awards for brilliance. VERY ANNIE MARY is a rich, multilayered, magical film with outstanding performances by Rachel Griffiths and Jonathan Pryce. The only fault one might find is that much of the dialogue is indecipherable due to the Welsh accents that challenge the ear! Highly recommended. Grady Harp