Change Your Image
GeoffLeo
Reviews
Country Dance (1970)
Clearly a waste of the time of a talented cast and director.
I thought maybe a film which boasted a cast including Peter O'Toole, Susannah York, Michael Craig & Harry Andrews might be worth watching. Alas, I was wrong. Utter pretentious nonsense from beginning to end with both O'Toole and York overacting wildly. I watched it twice and still have no idea what is was about. I've a feeling O'Toole plays the Laird of a Scottish castle who has a drink problem and likes reliving childhood games with his sister (York). He is also barking mad. But apart from that, your guess is as good as mine.
The film has no redeeming feature whatsoever. I can only assume the cast and director were blackmailed into making this dreary, unimaginative, stagy piffle. Clearly a waste of the time of a talented cast and director. Risible.
Ever Decreasing Circles (1984)
Briers has never been better in this Classic comedy series
Richard Briers has appeared in some terrific TV comedy series but this must surely be his best performance to date. His character, Martin Bryce, runs 'The Close', his local neighbourhood by organizing all the committees and cajoling his neighbours to take part in various activities. His job, at Mole Valley Valves is seen to be fairly humdrum. His wife (Penelope Wilton) just about puts up with his irritating, though well-meaning ways, but his dream world has a rude awakening with the arrival of new next door neighbour, Paul Ryman (Peter Egan). Paul is everything Martin is not that in that he is successful in business without seeming to bother, has played cricket at Lords, is handsome with a succession of beautiful girlfriends, has many 'mates' to help him pull strings and is charming to all and sundry.
The series shows Martin's vain attempts to prove he is the better man, often to his wife, Anne, but also to other neighbours from the close, notably Howard & Hilda Hughes. These two are another classic creation from writers Esmonde and Larbey. They do everything together, have a daily set routine which can never be interrupted and a genius for unintentional and innocent double-entendres usually only picked up by Paul and Anne. Howard (brilliantly portrayed by Stanley Lebor) is Martin's best friend but the latter cannot understand why he falls for Paul and his 'nice guy' image.
One of the funniest episodes of the series comes when Anne is in hospital for a few days and Martin boastfully promises to spring clean the house single-handedly in her absence. He uses charts, colour-coding and a stop-watch but everything goes wrong that could go wrong and it's Paul who inevitably has to come to the rescue. The series ended with a one-off extended edition which saw Anne expecting a baby (rather late in life) and the couple's move from The Close to Oswestry, brought about by the merger of Martin's firm.
An essential purchase on DVD for anybody who appreciates subtle comedy writing and great performances by the entire cast.
The Knack ...and How to Get It (1965)
The Knack emerges as a serious contender as the film which best defines and captures the essence of the sixties.
The Knack emerges as a serious contender as the film which best defines and captures the essence of the sixties. As a product of its age, it convincingly portrays an image of 'swinging London' that so dominated the media at that time. It is an enduring image, which has long since seeped into our collective consciousness.
Today, The Knack appears, at best, to be an attempt at understanding the changing moral landscape that was being radically redrawn during this era. As a piece of contemporary film making, it manages to capture the spirit of that age perfectly. What it doesn't necessarily do is make sense of it all. The 1960s was, after all, a period of rapid social and political change - an age of cold war tension, supersonic invention and lunar landing pretensions, combined with increasing freedom for teenagers, both in terms of sex and spending power.
The quartet of principal actors, Crawford, Tushingham, Brooks & Donnelly all give bravura performances. Richard Lester's direction was exemplary; indeed, he has probably not made a better film since those heady days. The locations, featuring some rather dingy-looking parts of the capital, look all the more so thanks to the decision to film in monochrome. This was particular brave considering the colourful times the film was depicting. The one ingredient which most of all created the sense of playfulness indicative of the film was John Barry's wonderfully mischievous jazz-tinged pop score. One cannot imagine the film without it, which is the highest compliment one can pay to a film soundtrack.
There is no doubt that The Knack was and remains a stylish movie, albeit rooted in its time. No viewer can fail to date its origin correctly ... yet that's precisely what makes this celluloid time-capsule such a fascinating viewing experience. It exists as the archetypal mid-sixties art-house movie, which, like the decade in which it was written, took risks, dared to be different, and, if it didn't always succeed, sure as hell made an impression.