Philomena Review

Rathing:
15
Distributor:
Pathe (UK)
Release Date:
1st November 2013 (UK) 27th November 2013(USA)
Director:
Stephen Frears
Cast:
Judi Dench, Steve Coogan, Mare Winningham, Michelle Fairley

Simultaneously heartfelt and amusing, you would be hard pressed to find a film more charming than Philomena this year. This is hardly surprising when you have the wit of a screenplay penned by Steve Coogan and the acting might of Dame Judi Dench involved.

Stephen Frears' film tackles the true story of Philomena Lee (Dench) - an Irish woman who teams up with political advisor turned-journalist, Martin Sixsmith (Coogan), to track down her long lost son who was put up for adoption by her convent.

Frears directs Philomena with a warm sense of hopefulness which remains throughout this quietly uplifting film. Coogan and Jeff Pope's screenplay takes us in a number of directions, interacting with a huge spectrum of human emotions - from initial hopefulness to crushing disappointment which builds to a somewhat angry and subsequently uplifting conclusion. Focused performances from Dench and Coogan ensure that every twist and turn of this screenplay finds its way to the audience with Philomena inspiring, amusing, and on more than a few occasions tugging at the heartstrings.

The odd-couple dynamic makes for an amusing and occasionally difficult watch. The sweet (yet surprisingly aware) Philomena's relationship with the cynical Oxford educated Sixsmith is often endearing, and ultimately heart-warming. This is showcased mainly through Sixsmith's slight transformation as a character (who is originally horrified by the prospect of working on a human interested story for the "weak minded and easily manipulated"), yet grows to have a very deep personal involvement in Philomena's case.

Dench is truly sublime as Philomena. Seeing the character's optimism and hope being shaken as she delves into the past has the emotional weight of a ton of bricks. Dench remains charming and downright loveable, whilst showcasing just exactly why she's a national treasure. The actress can convey a tremendous emotion and tragedy in the smallest of glances or gestures, whilst also getting plenty of opportunities to show off an impressive comic streak.

Coogan is given the chance to remind us that he is a solid dramatic actor (just as he did in What Maisie Knew, earlier in the year) delivering a far more understated and emotionally low-key performance to that of Dench.

Philomena is understated yet tremendously powerful, thanks to a touching and effortlessly amusing screenplay from Coogan and Pope. Frears directs with an endearing optimism whilst Dench and Coogan make for a tremendously watchable on-screen double act.

★★★★☆

Andrew McArthur

Journalists on the Big Screen

On 1st November the story of Philomena will be released. Philomena tells the true dramatic story of a teenager falling pregnant in Ireland. Labelled as a fallen woman, she was sent to a convent where her baby was taken and adopted against her will. Filled with guilt, Philomena cannot keep her 50 year long secret anymore. With the immense help of journalist Martian Sixsmith, she starts a journey to uncover the truth about her son. With the release of this highly anticipated movie, we are taking a look back at some of the greatest real-life journalists portrayed on the screen.

All The President’s Men (1976)

This Academy Award-winning political thriller tells the non-fiction story about the two journalists (played very famously by the legends Robert Redford and Dustin Hoffman) investigating the Watergate scandal for The Washington Post. The film received numerous good mentions including two Academy Awards.

Welcome To Sarajevo (1997)

UK journalist Michael Henderson (Stephen Dillane) and US journalist Jimmy Fynn (woody Harrelson) meet at the beginning of the Bosnian war in Sarajevo. As their time in Sarajevo continues, the suffering of the community becomes apparent. Using his power as a journalist, Henderson makes a report on a local orphanage which lies on the front lines of the war where the suffering of the children is overwhelming. Henderson makes the suffering in the orphanage his lead story to draw attention to the war and becomes heavily involved in the evacuation.

Good Night, And Good Luck (2005)

Set in the early days of broadcast journalism, Good Night and Good Luck tells the story of journalist Edward R. Murrow and his loyal team as they refuse to obey the corporate and sponsorship pressure to discredit the tactics used by Joseph McCarthy during his frequent communist allegations. Nominated for six Academy Awards, six BAFTAs, and four Golden Globes, the movie was highly successful.

The Boys Are Back (2009)

This emotional drama follows the story of Joe Warr (Clive Owen) a British sports writer as his life unravels. Warr’s wife is diagnosed with cancer and dies, leaving him as a single parent with the responsibility of balancing writing and parenting.

Philomena (2013)

Steve Coogan plays Martin Sixsmith, a recently sacked political spin doctor and former journalist who has hit rock bottom. Following the extraordinary story of a mother (Judi Dench) and the quest to find her long lost son, Philomena gives Coogan the chance to show off his considerable acting skills in a heartfelt straight role – that he won the best screenplay award at the Venice Film Festival for co-writing the film must be a welcome bonus!



Follow Martin and Philomena as they seek out the truth in PHILOMENA – released in the UK on November 1st.

What Maisie Knew Review

Rating:
15
Stars:
Onata Aprile, Julianne Moore, Steve Coogan, Joanna Vanderham , Alexander Skarsgard
Directors:
Scott McGehee and David Siegel
Release:
23rd August 2013 (UK Cinema)
Rent:
What Maisie Knew
Taking a classic piece of late-nineteenth century literature and adapting it in a contemporary fashion is a risky move that few filmmakers could convincingly pull off. However, Scott McGehee and David Siegel are two of the directors up to such a task as showcased in their delicately understated and truly touching adaption of Henry James's What Maisie Knew.

Maisie (Onata Aprile) is the child of pushy rock star Susanna (Julianne Moore) and distracted art-dealer Beale (Steve Coogan) - a couple who are in the middle of a bitter divorce. Maisie is pushed to-and-fro between her mother and new boyfriend Lincoln (Alexander Skarsgard) and her father and his fiancé Margo (Joanna Vanderham), Maisie's former nanny.

Nancy Doyne and Carroll Cartwright's delicate, slow-building screenplay captures the challenging effects that divorce can have on a child, especially those whose parents are so career-driven that their parenting style can only be described as negligent. Fiery performances from Moore and Coogan capture this at full force, but both actors display a welcome range in respective scenes which see them bond with Maisie. Doyne and Cartwright slowly build up the heart-wrenching emotional weight that this erratic behaviour has on Maisie, whilst also reflecting a truly warming kindness that she receives from initial outsiders, Lincoln and Margo. Maisie remains relatively contained, yet it is clear the weight and strain of the actions of those around her does begin to challenge the young child.

This is flawlessly showcased in one scene which sees Maisie's mother abandon her to go on tour. The young Maisie is temporarily taken in by strangers where we see the child's fear and heartbreak gradually break through in one understated shot where the young girl lets out a single stray tear. The scene is an agonising watch and represents the delicate directorial style of McGehee and Siegel, where a floodgate of gradual pain is masterfully showcased in one single tear.

Of course, the emotional impact of What Maisie Knew would be sorely less effective if not for young actress Onata Aprile. Aprile is a revelation - presenting a performance so authentically contained and controlled, yet packing such an emotional weight that it truly grounds the feature.

Whilst capturing the challenging nature of relationships, McGehee and Siegel also display the warmth and excitement of new romances through the ever-growing relationship between Lincoln and Margo. This is presented with such a natural tenderness and class that it is a challenge not to warmed - whilst must of this should also be credited to beautifully understated performances from Vanderham and Skarsgard.

What Maisie Knew's slow building screenplay packs a heart-wrenching emotional weight showcased through delicately understated direction and staggeringly authentic performances from Aprile, Vanderham, and their co-stars.

★★★★☆

Andrew McArthur

This is a repost of Edinburgh film Festival Review

The Look of Love - Coogan the Chameleon

Steve Coogan, forever tied to his legendary comic creation Alan Partridge, has appeared in a varied range of film roles in recent years, acting in biopics, voicing animated characters and of course recently starring as the aforementioned Partridge in the long awaited ALPHA PAPA. To celebrate the release of THE LOOK OF LOVE out on DVD & Blu-ray on August 19th, we take a look at a selection of Coogan’s cinematic roles.

Paul Raymond – The Look of Love (2012)

Paul Raymond, otherwise known as the King of Soho, was a bold and brave businessman during a time of social change. He is most famous for his strip clubs in Soho during the 1960’s that brought him an obscene amount of wealth, which led to the launching of Paul Raymond Publications and soft porn magazines. After watching video footage and talking with the Liverpudlian’s family and friends, Steve Coogan was able to bring his character back to life, showing his close relationship with his daughter Debbie Raymond and how drugs were the downfall of his family.

Alan Partridge – Alpha Papa (2013)

After he first appeared on BBC Radio 4 with On The Hour back in 1991, Alan Partridge has become a UK phenomenon and Steve Coogan’s 20 year long comedy masterpiece. Coogan has mastered Alan’s insecure, superficial, social status obsessed personality, this year culminating in his very own action film. Acting as a negotiator during an armed takeover of the news station, Partridge looks to take advantage of the media buzz. As witty as he’s ever been, Coogan’s alter ego looks to be a hit with critics and viewers.

Tony Wilson – 24 Hour Party People (2002)

Despite being another biopic of a media mogul, 24 Hour Party People is a very different film. Tony Wilson, Cambridge educated journalist, knew he’d found ‘the future of music’ one night at a small concert featuring the Sex Pistols, and later sets up Factory Records who would sign Joy Division. Using a healthy dose of artistic license, the film depicts the defining foundations of the punk movement in Manchester and the later era-defining ‘Madchester’ scene of the late 80s and early 90s. See if you can spot a cameo from the real Tony Wilson.

Tristram Shandy – A Cock & Bull Story (2005)

In this book within a book within a film within a film, Coogan plays himself playing an actor. Based on the humourous eighteenth century book Tristam Shandy, famous for its long discussions of metaphysical concepts, the film employs layers of this outside the production of the film being made on screen. Using a documentary style, the lack of plot focus from the novel allows Coogan freedom to riff amusingly with co-star Rob Brydon unhindered by relevance to anything happening within what can be loosely described as the story.

Damien Cockburn – Tropic Thunder (2008)

With a $92 million budget, this comedy action movie is only the fourth from director Ben Stiller. Coogan plays a fledgling director attempting to shoot an adaptation of a war novel written by John Tayback (Nick Nolte). What he and the rest of the production don’t realise is that their location is actually the territory of a violent heroin gang who view the film crew as a threat. The frustrated Coogan is a month behind schedule and stressing about his project, to amusing satirical effect. When he is blown up by a land mine, the actors believe it is a trick to add realism to their roles.

Phileas Fogg – 80 Days Around the World (2004)

Taking David Niven’s role in the Oscar winning 1956 version of the film, the modern update with Jackie Chan is an amusing retelling that doesn’t take itself nearly as seriously. Coogan fits the shoes of mad inventor with surprising ease. His outlandish CGI inventions and trademark British humour in the face of almost certain death give the film a warm charm, and is representative of a self-awareness that the grandeur of its older adaptation won’t enthral modern audiences in the same way that it did half a century ago.

Ambassador Mercy – Marie Antoinette (2006)

The cult period film by Hollywood royalty Sophia Coppola put Coogan in a more minor role. Speaking of the director, he said “You know that if Sofia Coppola’s going to make a costume drama it’s not going to be ordinary ... The reason I did that movie was because of her.” Like many in the industry, he prefers the freedom of independent filmmaking, but made exception on this occasion. An uncommon non-comedic role for the actor, Coogan proves he can tackle this type of character with a flourish.
The Look Of Love will be released on 19th August on DVD and Blu-ray.

Watch The UK Trailer For Stephen Frear's Philomena

Whilst we know all about  Steve Coogan's comedy talents many may not know of his versatility and deliver something serious as well as dramatic, this November we will see that side of Coogan we don't see much off. This afternoon we will get a glimpse of his dramatic chops when we enjoy the UK trailer for Philomena.

Starring  Dame Judi Dench, Philomena  is a tragic true tale set in 1950′s Ireland  of Philomena Lee (Dench) who falls pregnant giving birth to a boy in a Catholic home for unmarried mothers. Years later she is forced to give up her child and has  to become a nun made to sign a declaration not to ever look  for her Son.Years later now living in UK with help from local news reporter Martin Sixsmith (Steve Coogan) to hunt her son down.

Whilst Look Of Love (and What Maisie Knew out this month)gave us a insight to what Coogan to offer, Philomena  is also co-written by Coogan which has even sparked Oscar talk, especially as this film has the emotion levels the Academy love. What mustn't forget  Judi Dench looks like she'll deliver deeply moving and powerful, if your looking for something with humour, Coogan told Variety....

"The film is a comic tragedy or a tragic comedy,It's about two very different people, at different stages of their lives, who help each other and show that there is laughter even in the darkest places."

Philomena arrives in UK on 1st November 2013.

Synopsis

Judi Dench and Steve Coogan play unlikely friends in PHILOMENA, the moving, funny and at times shocking true story of one woman’s search for a lost son.

Directed by BAFTA winner Stephen Frears (The Queen), PHILOMENA will open in the UK and Ireland on 1 November 2013.

Falling pregnant as a teenager in Ireland in 1952, Philomena was sent to the convent of Roscrea to be looked after as a “fallen woman”. When her baby was only a toddler, he was taken away by the nuns for adoption in America. Philomena spent the next fifty years searching for him but with no success.

Then she met Martin Sixsmith, a world-weary political journalist who happened to be intrigued by her story. Together they set off to America on a journey that would not only reveal the extraordinary story of Philomena’s son, but also create an unexpectedly close bond between Philomena and Martin.

The film is a compelling narrative of human love and loss that ultimately celebrates life, showing that there is laughter even in the darkest places.

Sixsmith’s book "The Lost Child Of Philomena Lee" was published in 2009. It acted as a catalyst for thousands of adopted Irish children and their ‘shamed’ mothers to come forward to tell their stories. Many are still searching for their lost families.

first posted at : Thepeoplesmovies 

EIFF 2013 - What Maisie Knew Review

Taking a classic piece of late-nineteenth century literature and adapting it in a contemporary fashion is a risky move that few filmmakers could convincingly pull off. However, Scott McGehee and David Siegel are two of the directors up to such a task as showcased in their delicately understated and truly touching adaption of Henry James's What Maisie Knew.

Maisie (Onata Aprile) is the child of pushy rock star Susanna (Julianne Moore) and distracted art-dealer Beale (Steve Coogan) - a couple who are in the middle of a bitter divorce. Maisie is pushed to-and-fro between her mother and new boyfriend Lincoln (Alexander Skarsgard) and her father and his fiancé Margo (Joanna Vanderham), Maisie's former nanny.

Nancy Doyne and Carroll Cartwright's delicate, slow-building screenplay captures the challenging effects that divorce can have on a child, especially those whose parents are so career-driven that their parenting style can only be described as negligent. Fiery performances from Moore and Coogan capture this at full force, but both actors display a welcome range in respective scenes which see them bond with Maisie. Doyne and Cartwright slowly build up the heart-wrenching emotional weight that this erratic behaviour has on Maisie, whilst also reflecting a truly warming kindness that she receives from initial outsiders, Lincoln and Margo. Maisie remains relatively contained, yet it is clear the weight and strain of the actions of those around her does begin to challenge the young child.

This is flawlessly showcased in one scene which sees Maisie's mother abandon her to go on tour. The young Maisie is temporarily taken in by strangers where we see the child's fear and heartbreak gradually break through in one understated shot where the young girl lets out a single stray tear. The scene is an agonising watch and represents the delicate directorial style of McGehee and Siegel, where a floodgate of gradual pain is masterfully showcased in one single tear.

Of course, the emotional impact of What Maisie Knew would be sorely less effective if not for young actress Onata Aprile. Aprile is a revelation - presenting a performance so authentically contained and controlled, yet packing such an emotional weight that it truly grounds the feature.

Whilst capturing the challenging nature of relationships, McGehee and Siegel also display the warmth and excitement of new romances through the ever-growing relationship between Lincoln and Margo. This is presented with such a natural tenderness and class that it is a challenge not to warmed - whilst must of this should also be credited to beautifully understated performances from Vanderham and Skarsgard.

What Maisie Knew's slow building screenplay packs a heart-wrenching emotional weight showcased through delicately understated direction and staggeringly authentic performances from Aprile, Vanderham, and their co-stars.

★★★★☆

Andrew McArthur

Stars: Onata Aprile, Julianne Moore, Steve Coogan, Joanna Vanderham , Alexander Skarsgard
Directors: Scott McGehee and David Siegel
Release: 20th June - 22nd June 2013 (EIFF) 23rd August 2013 (UK Cinema)

The Best Father-Daughter Relationships in Film (The Look Of Love)

The Look of Love documents the life of Soho’s king, Paul Raymond – the one time richest man in Britain, self made millionaire, property owner, publisher, nightclub order, husband, lover and father. Raymond’s reputation as a ladies’ man may precede him, but despite his flaws it is undeniable that relationship with his daughter Debbie was the most important aspect of his multifaceted life. She was not only his heir and undoubtedly the apple of his eye, and his motivation. The Look of Love stars Steve Coogan, Anna Friel and Imogen Poots and to mark it’s release, here’s a countdown of the best father-daughter relationships on the big screen.

Matt King in The Descendants (2012)

George Clooney plays a father whose wife is left in a coma after an accident. Although he had never been hands-on dad, he is left to take care of his two young daughters, the eldest of which is a rebellious teenager. When shocking secrets about his wife’s life come to light, the family are forced to pull together, re-examining the past and embracing their new future together whilst Matt has to make the difficult decision regarding his family’s ancestral land.

Doctor Poulain in Amelie (2001)

Amelie was never close to her father. A stern army doctor, the only time she was ever close to him was during her annual check up – something so exciting that it caused her heart to pound and led her perents to believe that she has a defect! A recluse since the death of Amelie’s mother, he spent his autumn years collecting garden ornaments and making shrines to his wife, until, in a bid to bring some colour into his life, Amelie secretly gives her father’s favourite gnome to her air hostess, who takes him on her travels, sending back pictures of the cheery fellow in various exotic locations, to his bemusement.

George Banks in Father of The Bride (1991)

Steve Martin plays a father struggling with the idea of giving his daughter away, wracked with the idea that her future husband is now taking the place of the most important man in her life. However, in the end he realises that she is always going to need him, and that he will always be there for her no matter what.

Daddy Warbucks in Annie (1982)

Oliver ‘Daddy’ Wharbucks was a self-proclaimed bachelor – he never wanted children or anyone to share his millions with. That was until Annie, the feisty red-headed orphan came into her life. Initially she was nothing more than a photo opportunity for Wharbucks, staying in his mansion for a week in a bid to boost his image. However, he is soon won over by her charm and intelligence, rescuing her from the orphanage and adopting her as his own.

Atticus Finch in To Kill a Mockingbird (1962)

The southern lawyer is a single father who brings his daughters up with compassion and kindness, teaching his children to treat all people with equality and respect – valuable life lessons with gems such as: “You never really understand a person until you consider things from his point of view - until you climb into his skin and walk around in it."

Wink in Beasts of the Southern Wild (2013)

The young hushpuppy’s relationship with her hot-headed father is strained at times, but when melting ice-claps flood her ramshackle community ‘The Bathtub’ and unleash ancient creatures, Wink goes to extreme efforts to solidify his daughter’s independence despite his ailing health.

Mose in Paper Moon (1973)

When travelling con-man stumbles across a funeral, the striking resemblance between himself and the orphaned child of the dead woman means that he is reluctantly persuaded that the pair are somehow related, and he is charged with delivering the her back to her aunt’s in Missouri. The intelligent Addie soon realises that Mose is not the wandering preacher that he professes himself to be, and the pair become a fantastic team – making money in every dishonest way imaginable, meeting a variety of colourful characters along the way.

Jean Valjean in Les Miserables (2013)

Fantine, a worker in Valjean’s factory is unceremoniously cast into the street on the discovery that she has an illegitimate child, and subsequently forced into a life of prostitution in order to provide for her, which leads to her death. On discovering this, Valjean is wracked with guilt and vows to become little Cosette’s protector, rescuing her from her abusive step-parents and treating her like a daughter – she becomes the centre of his world.


The Look of Love comes is out now in UK cinemas Read our review

Sundance London 2013:The Look Of Love Review

Scorcese had DeNiro, Tim Burton has Johnny Depp and back in blighty Michal Winterbottom has Steve Coogan. The Look of Love is the pair’s fourth collaborative piece having stumbled upon a beneficial creative partnership on the set of 24 Hour Party People back in 2002. Coogan however will always be tied to a far greater partner, one that infects a number of his roles with or without his directorial mentor – Alan Partridge. We’ll have to wait until August to see his alter-ego’s first foray into the film world but the shadow of Norfolk’s number one DJ looms large over his incarnation of notorious Soho sex-industry king, Paul Raymond.

It’s a criticism often levelled at Coogan and one that can equally be taken as a compliment. So invested was he with his comic creation that he carries the traits, mannerisms and quirks into much of his own life, often spilling out onto screen. Fortunately here it is more appropriate than usual – Paul Raymond shared Partridge’s fondness for an innuendo, an inappropriate remark and a certain pronunciation.

We meet him towards the end of his life, facing questions from the assembled press outside an inquest for daughter Debbie’s fatal overdose in 1992. From there we travel back through Raymond’s ‘world of erotica’, taking in the humble beginnings of a lion taming/ strip show hybrid and knickers removed by dolphins, winding up at the acquisition of the Soho Revue Bar.

Endlessly pushing the boundaries of acceptability, his empire grew to encompass magazines – Men Only, Escort, Mayfair – venues, and no small number of Soho property establishing him as Britain’s wealthiest man. Peering through the glitter curtain, we bear witness to Raymond’s natural charisma - a born entertainer able to hold court with all comers, proving handy with the press and the fairer sex.

The camera invites us to glimpse the coming and goings of various partners, all approved by his understanding wife Jean (ably portrayed by Anna Friel) and his inevitable dalliance with class A’s – a habit he passes on to his much loved daughter, perfectly played by Imogen Poots, breathing life into her poor little rich girl role.

There are familiar faces everywhere, all sourced from the television comedy world; David Walliams as a seedy priest, his comedic partner Matt Lucas as a stage performer, the geeky one from The Inbetweners not exactly stretching himself as Debbie’s boyfriend and The Thick of It’s Chris Addison playing Raymond’s long-standing business partner.

The script itself comes from more British talent, Control scribe Matt Greenhalgh who overreaches in his ambition, stretching the 100 minute running time to take in 50 years of action, meaning years pass in montage form and details are lost in a blur of cocaine and orgies. A keener edit may’ve ironed out some of the slack and delivered a tighter, more focused finish to this tale of hedonism and dubious familial values.

As it is we are offered an interesting look at London through the ages, held up by a commanding performance by Coogan hinting at man at times plagued by, and indebted to his working class roots in equal measure. It’s a tale tailor made for the screen and with Winterbottom at the helm is one that should have soared. Sadly it didn’t, delivering a worthy but unspectacular biopic of a man and an industry who defined a neighbourhood.

★★★☆☆

Matthew Walsh

Rating: 15
UK Release Date: 26th April 2013 (festival date 25th April 2013)
Director: Michael Winterbottom
Cast: Steve Coogan, Anna Friel, Imogen Poots, Stephen Fry, Tamsin Egerton

Michael Winterbottom Retrospective (The Look Of Love)

This indisputably underestimated Blackburn-born filmmaker has packed in a lot in a fifteen-year career. Looking at Michael Winterbottom’s folio, no genre goes uncharted: spanning everything from spoof documentary, eerie thriller to engaging realism.

In UK cinemas on 26th April, The Look of Love sees Winterbottom collaborating with Steve Coogan yet again, this time in a irreverent look at the life of Paul Raymond, controversial entrepreneur, nightclub owner and one-time richest man in Britain. The film co-stars Anna Friel, Tamsin Egerton and Imogen Poots, along with Stephen Fry and David Walliams.

To mark the release of the newest addition to his oeuvre, here’s a look at some of his best work…

Trishna (2011)

With Trishna, Winterbottom took Hardy’s Tess of d’Urbevilles and embedded it in modern India, using the narrative to document the tragic relationship between the son of a property developer and the daughter of a rickshaw owner. The story was shot in the Indian cities of Jaipur and Mumbai and stars the beautiful Freida Pinto and Riz Ahmed as its leads.

The Killer Inside Me (2010)

Based on a 1952 novel by Jim Thompson, the film follows the pillor of a small community, Deputy Sheriff Lou Ford, beneath whose calm and rational exterior is a violent sociopath harbouring a dark past. Despite scenes of extreme violence shocking audiences, the film is a stylishly shot and a gripping, intelligent take on classic film noir, starring Casey Affleck, Kate Hudson and Jessica Alba.

The Trip (2012)

Winterbottom created an improvised six-episode comedy series filmed in the Lake District, in which a dissatisfied actor agrees to write a series of reviews for the Observer newspaper in order to impress his girlfriend, who unceremoniously dumps him at the start of the series. The episodes take place over a sequence of gourmet meals and stars Rob Brydon and Steve Coogan in a ferociously hilarious double act.

Genova (2008)

This little known gem is impeccably acted and full of subtle moments of beauty. The story is about a father (played by Colin Firth), who, following the death of his wife decides to start anew, moving to Italy to teach English at Geneva University, accompanied by his two adolescent daughters. Crammed together in a cosy but chaotic flat, the family of three learn lessons about love, life, death and family through the events which ensue, all set against the beautiful backdrop of the beautiful streets of Geneva.

A Mighty Hart (2007)

The brilliant, suspense filled docu-drama was based on the memoirs of Mariane Pearl and produced by Brad Pitt. It documents Marlene, played by Angelina Jolie, on the frantic search to locate her husband, missing journalist Daniel Pearle, who was kidnapped and murdered whist on an assignment in Pakistan. Jolie was critically acclaimed for her emotionally charged performance.

The Road To Guantanamo (2006)

This British docu-drama focuses on the Tipton Three, a trio of British Muslims who were captured in Afghanistan and held in Guantanamo Bay for two years until they were released without charge. The reception to the film was mixed due to the controversial subject matter and it’s portrayal of interrogation and torture techniques used the US Army. Nevertheless, Winterbottom won the Silver Bear for Best Director at the 56th Berlin International Film Festival, and the film won the Independent Spirit Award for Best Documentary Feature at the Sundance Film Festival.

A Cock and Bull Story (2005)

Winterbottom’s adaptation of Laurence Sterne’s 18th century novel, The Life and Opinions of Tristram Shandy is a film-within-a-film. It features Steve Coogan and Rob Brydon playing themselves as egotistical actors during the making of a screen adaptation of the novel. The book is about a man unable to write a novel, and the film quite aptly mirrors this in the men’s inability to make a film.

9 Songs (2004)

9 Songs revisits sex and rock n’ roll – two of Winterbottom’s favourite themes. The film charts the extremely full on, sexual relationship between an American college student and a British glaciologist, which sees the two lovers attending rock concerts in-between their intense physical encounters.

24 Hour Party People (2002)

This classic mock-u-mentary documents the 90’s ‘Madchester’ music scene. The narrative follows the career of Tony Wilson (played by Steve Coogan), a news reporter for Granada and head of Factory records. The film dramatises a combination of real events, rumours and urban legends to hilarious result, and features a fantastic Brit rock soundtrack featuring The Sex Pistols, Happy Mondays and Joy Division.

Jude (1996)

Featuring pre-Titanic Kate Winslet alongside the also relatively unknown Christopher Ecclestone. The film is another adaptation of a much loved Hardy novel, Jude the Obscure which is the well known tale of a working class man who dreams of becoming an academic, scandalising his small west country village by leaving his wife for his beautiful cousin. Critically acclaimed as an amazingly powerful and dark film.



The Look of Love opens in UK cinemas Today, 26th April

The Look Of Love Review

Whether recounting the autobiographical tale of a renowned public figure in 24 Hour Party People (Tony Wilson) or adapting the supposedly unfilmable novel which charts the life of a fictional character in A Cock and Bull Story, director Michael Winterbottom and actor Steve Coogan are a formidable partnership when it comes to regaling an audience with what can easily be considered quintessentially British films. Winterbottom's latest offering, The Look of Love, marks their fourth collaboration and documents the life of Paul Raymond, a controversial entrepreneur who shot to fame in 60's Soho with his chain of strip clubs and adult publications, and his impressive rise throughout the 70's to the position of Britain's richest man.

Instead of focusing solely on the exploits that made Raymond infamous, The look of Love is an in depth character study that doesn't shy away from his roles as a father and husband, which appear far more demanding to Raymond than working in a profession associated with scantily clad ladies and readily available drugs. There are moments of bleakness throughout the screenplay (such as a stand out scene where Raymond meets his estranged son) but for the most part the decadence of the era, which is shown through the glamour and excess of Raymond and his associates, lightens the mood enough for Winterbottom's film to be an enjoyable diversion whether audiences are familiar with the story or not.

Alan Partridge aside, Coogan has never seemed more at home in a character than in his portrayal of Paul Raymond. Sleazy yet charismatic, Coogan is perfectly cast in the leading role and it is impressive to see him handle the more tender and heartfelt moments of this drama with an emotional depth rarely seen in his acting career. Throughout his life Raymond's obsession with women is ever prevalent;  his wife (Anna Friel) and his lover, Amber (Tamsin Egerton), both have a huge impact on him but none more so than the daughter he dotes on. Debbie (Imogen Poots) appears to be the only girl he cannot bear to be without and Poots displays a wonderful naivety when Debbie is plunged into her father's world of adult entertainment at a young age. Despite this it is Egerton's alluring performance that stands out, and as Amber seduces Raymond, the audience will inevitably follow suit.

As is often the case with Winterbottom's films, appearances by British comedy stalwarts such as Stephen Fry, David Walliams and Dara O'Briain provide welcome comic relief even if their screen time is limited, and in some cases it is disappointing that their characters are not utilised more.

Whilst The Look of Love is not quite as accomplished as Winterbottom's previous autobiographical efforts, it is still nonetheless a captivating study of the man fondly remembered by many as the King of Soho. Not all of the emotional notes will strike a chord with the audience but those that do will linger, and the relationship between Paul Raymond and his carefree daughter Debbie is a joy to behold. The Look of Love may struggle to find an audience but those who seek it out will be rewarded with a surprisingly moving autobiography that showcases Steve Coogan at his best.

★★★½☆

Tom Bielby

Rating: 15
UK Release Date: 26th April 2013
Director: Michael Winterbottom
Cast: Steve Coogan, Anna Friel, Imogen Poots, Stephen Fry, Tamsin Egerton