4 reviews
Mike Leigh's bittersweet social satire dissected with devastating accuracy (and a sometimes heartbreaking sense of humor) the widening gap between the haves and have-nots in Margaret Thatcher's England, moving from transparent criticism to crass parody to, finally, a touching plea on behalf of the elderly. It's a gray little film, giddy and depressing all at once, although often as funny (and just as striking) as hearing fingernails scraped down a blackboard. Leigh's cross-section of British society rings true even at its most exaggerated, and his ear for language, whether mumbled Cockney slang or nasal upper-class snobbery, is pitch perfect.
The film is essentially a showcase for some wonderfully defined characters: marginalized counterculture Marxists Cyril and Shirley; Cyril's ultra-neurotic middle-class sister and her vulgar salesman husband; an infirm old mum; a pair of callous upscale neighbors; and an odd, occasional houseguest named Wayne. The plotting is furtive: nothing much happens over the course of the film, giving the cast plenty of room to stretch out in their roles. The characters and story lines were created by the entire cast through extensive pre-production rehearsals, but the finished film is remarkably cohesive, with acting so natural it could easily be mistaken for improvisation if it weren't so well written. The result is a film of rare and genuine emotion: it's either the gloomiest comedy ever made or a tragedy with no shortage of laughs.
The film is essentially a showcase for some wonderfully defined characters: marginalized counterculture Marxists Cyril and Shirley; Cyril's ultra-neurotic middle-class sister and her vulgar salesman husband; an infirm old mum; a pair of callous upscale neighbors; and an odd, occasional houseguest named Wayne. The plotting is furtive: nothing much happens over the course of the film, giving the cast plenty of room to stretch out in their roles. The characters and story lines were created by the entire cast through extensive pre-production rehearsals, but the finished film is remarkably cohesive, with acting so natural it could easily be mistaken for improvisation if it weren't so well written. The result is a film of rare and genuine emotion: it's either the gloomiest comedy ever made or a tragedy with no shortage of laughs.
The life and times of an extended family in 1980's London.
Director Mike Leigh is probably the closest the UK has to Woody Allen: and like Allen his films go from absolute classics to barely watchable. Here he is about as good as he ever will be - indeed there are scenes from this movie that are, in there own way, as profound and original as anything that has been put down on film.
Who else would let the camera linger on the face of an old woman just at the point of losing her sanity? Or dare to present a couple going nowhere as the centrepiece of a feature film? Or even present "success stories" (a yuppie couple) as rank and selfish? Here lower-middle-and-upper crusts are clowns, it is only a matter of levels and angles.
Indeed, Leigh never gives us anything to cling to. Nor does he want to present hope that things will change for the better. Take the central couple Shirley and Cyril (Philip Davies and Ruth Sheen). Why are they living like squatters in their own tiny flat? Why can they not buy a proper bed (they sleep on the floor) or look for somewhere better - after all they both work? Apart from the question of a child (she wants - he doesn't) they both seem happy to live in squalor. In Shirley we at least have someone who cares for other people.
The old lady - through which the story is told - is on her last legs as regards living an independent life. The house she lives in has become neglected and the area she lives in no longer contain her type of people. Her neurotic daughter is so wrapped up in her own suburban life that she does seem to realise her mother is at the point of collapse. The scene where she holds a birthday party for her aged mother is agony - not for her confused mother - but for us the viewer.
Some of the performances are a little of the top (Leigh's films let actors improvise) and I could have lived without so much of the melancholy music track that rubs everything in. But this is the only film since One Flew Over The Cuckoo's Nest that lets humour and tragedy sit side by side without blinking.
Director Leigh gets under your skin and takes you places we haven't been on film before - but I am not sure they are places I would want to go on a regular basis. He is a one-off, but I am secretly glad about that.
Director Mike Leigh is probably the closest the UK has to Woody Allen: and like Allen his films go from absolute classics to barely watchable. Here he is about as good as he ever will be - indeed there are scenes from this movie that are, in there own way, as profound and original as anything that has been put down on film.
Who else would let the camera linger on the face of an old woman just at the point of losing her sanity? Or dare to present a couple going nowhere as the centrepiece of a feature film? Or even present "success stories" (a yuppie couple) as rank and selfish? Here lower-middle-and-upper crusts are clowns, it is only a matter of levels and angles.
Indeed, Leigh never gives us anything to cling to. Nor does he want to present hope that things will change for the better. Take the central couple Shirley and Cyril (Philip Davies and Ruth Sheen). Why are they living like squatters in their own tiny flat? Why can they not buy a proper bed (they sleep on the floor) or look for somewhere better - after all they both work? Apart from the question of a child (she wants - he doesn't) they both seem happy to live in squalor. In Shirley we at least have someone who cares for other people.
The old lady - through which the story is told - is on her last legs as regards living an independent life. The house she lives in has become neglected and the area she lives in no longer contain her type of people. Her neurotic daughter is so wrapped up in her own suburban life that she does seem to realise her mother is at the point of collapse. The scene where she holds a birthday party for her aged mother is agony - not for her confused mother - but for us the viewer.
Some of the performances are a little of the top (Leigh's films let actors improvise) and I could have lived without so much of the melancholy music track that rubs everything in. But this is the only film since One Flew Over The Cuckoo's Nest that lets humour and tragedy sit side by side without blinking.
Director Leigh gets under your skin and takes you places we haven't been on film before - but I am not sure they are places I would want to go on a regular basis. He is a one-off, but I am secretly glad about that.
"High Hopes" is a movie of much range, bouncing from wit to tragedy, and contains great writing along with it. It's alive and challenging. Director Mike Leigh directs in an emphatic state, choosing mostly to emphasize these elements in a somewhat uninteresting business, like old British flats. This is the most successful part of the picture, as he keeps us along and makes us sad, mad and laugh. I really like how Mike Leigh uses his characters, too - he reminds me of a British type Altman here. Just like Altman, he's got lots of characters, containing true colorful elements, and an emphasis on unemphasized settings. Overall, though, I really enjoyed this picture. If there's a word to describe it, I'd say vivid - because really, this is a vivid picture.
The film mostly follows a selection of characters in a disoriented family in 1980's England and their own complicated relationships.
It's wonderfully made, beautifully tragic and quite often very witty and funny. I particularly like, as I said, his characters, and just how unique they really are. The cast is excellent, and the picture as a whole is extremely engaging. I'll close with one last thing - the ending shot of the picture is wonderful, thoughtful and hopeful, and the music is perfect.
High Hopes (1988)
3½ STARS (OUT OF 4)
Written and directed by Mike Leigh
Starring Phil Davis, Ruth Sheen, Edna Dore and Philip Jackson
Rated PG
108 minutes.
The film mostly follows a selection of characters in a disoriented family in 1980's England and their own complicated relationships.
It's wonderfully made, beautifully tragic and quite often very witty and funny. I particularly like, as I said, his characters, and just how unique they really are. The cast is excellent, and the picture as a whole is extremely engaging. I'll close with one last thing - the ending shot of the picture is wonderful, thoughtful and hopeful, and the music is perfect.
High Hopes (1988)
3½ STARS (OUT OF 4)
Written and directed by Mike Leigh
Starring Phil Davis, Ruth Sheen, Edna Dore and Philip Jackson
Rated PG
108 minutes.
- redcrossaint
- Jul 22, 2022
- Permalink
This is quite underrated title. Loved the subtle humour. Very British movie. The class standoff is a bit unexpected angle but proves adding to the comedy of situation. This is not typical Holywood bestseller movie in the cinema but the one to enjoy quitely at home (without interruptions), you need to go with the flow and live through the story. I personally enjoyed it a lot!
- bvsf-991-889094
- Feb 15, 2019
- Permalink