Showing posts with label maggie smith. Show all posts
Showing posts with label maggie smith. Show all posts

Masterpiece Theatre: All the King's Men (2000) Review

Masterpiece Theatre: All the King's Men (2000)
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It is unusual in the history of warfare for entire units to disappear without a trace and when it does occur, such occurrences are usually the result of serious mistakes that lead to the annihilation of one's command. In American history, Custer and the 7th Cavalry come to mind. Further back, the disappearance of the entire Roman 9th Hispana Legion in Scotland is another example. In the British-made movie entitled "All the King's Men," a more recent occurrence of such an incident is portrayed. On August 12, 1915 at Gallipoli, over 300 British soldiers of the 1/5th Norfolk Battalion attacked into a morning mist and where never seen again. Few of the bodies were ever found and none returned from Turkish prisons after the war. Winston Churchill no less, called it one of the great-unsolved mysteries of the 20th Century.
This film focuses on the "Sandringham Company," formed mostly from servants, gardeners and other workers on King George V's estate of that name, which were part of the 1/5th Norfolk Battalion. Virtually none of these men were ever seen again and the Royal family made great efforts during and after the war to ascertain their fate. The main characters in this film are Captain Frank Beck (David Jason), his two nephews who are lieutenants in the company, a Sergeant Grimes, King George V and Queen Alexandra. Beck is the main focus, as the fifty-plus estate manager who organizes and prepares the unit for war; rather than appearing as an odious "Colonel Blimp" type character, Jason wonderfully portrays Beck as a trusted father figure in the unit, respected by both the King and the troops. Much of the early part of the film focuses on the lives of the men while on the estate, and Beck's efforts to go to war with them despite his age. Eventually, Queen Alexandra lends her support to his martial ambitions and Beck is allowed to lead his men off to Gallipoli.
Unfortunately, the film bogs down a bit once the unit gets to Gallipoli. In reality, the 1/5th Norfolk landed at Suvla Bay on 10 August and was lost two days later, but in the film these two days seem to drag. The fact that the British were making a major effort to break out of the Suvla Bay enclave is missed here, because the film shows the men of the company lounging about and engaging in mundane camp activities. Some patrol activity against Turkish snipers is shown, but this has little relevance. On 12 August, as part of a minor preliminary operation to clear the way for a larger attack on the next day, the 1/5th Norfolks and several other units are sent forward to clear out Turkish outposts. At this point in the film, when the unit disappears in the mists, the director begins to switch back and forth between post-war investigations into the disappearance and a hypothetical depiction of what actually occurred on that day.
Historically, the film is a bit disappointing in recounting the fate of the "Sandringham Company" because it fails to put the day in perspective. The Sandringham company is shown in total isolation from the rest of the British army. The participation of other units or even the rest of the battalion is not depicted in this film, nor is even the audience told what their mission was. In fact, Captain Frank Beck did not lead the attack; it was his superior Colonel Beauchamp (Beck is never shown interacting with his superiors), who also died. The 1/5th Norfolk lost 372 men that day, of which the Sandringham men were only 2/3rds of the casualties. Even more glaring is that the British suffered about 18,000 casualties in less than a week at Suvla Bay during the period of the Sandringham company's brief involvement in the campaign; the disappearance of a few hundred troops in the midst of such slaughter and confusion might have made more sense given these facts.
Obviously the men were all killed, since none ever returned, but the exact nature of their fate remained a mystery. This film depicts the Sandringham's as punching through the thin Turkish line in a glorious charge, but are then overwhelmed once they become surrounded behind enemy lines. The Turks execute all the captured survivors, including Beck. While this theory has merit, it is not the only possibility. The film depicts the mist as obscuring the battlefield, but fails to show the heavy scrub brush and small trees that hindered the British advance and made it difficult for the officers to maintain control. Another plausible theory, not suggested by the film, is that the 1/5th Norfolk lost cohesion in the rough terrain and the battle-hardened Turks destroyed the untried unit piece-meal. While there is little doubt that the Turks were not taking prisoners that day, there is no evidence to suggest that the "Sandringham's" went down in a blaze of glory as depicted in this film (although certainly such a depiction is preferred to anything that suggests an ignominious end). Perhaps they did, but the loss of the entire unit is more indicative of incompetence than competence.
Despite these historical reservations, the film is very well done and provides a poignant example of the enthusiasm of men to go off to war in the early days of the First World War. Although some minor characters, including a conscientious objector and a shell-shock casualty, temper the glorious view of war to some extent, the film remains committed to a patriotic depiction of martial duty. The cost of such devotion is apparent by the end of the film, but the meaning of such sacrifice is left ambiguous. Contrast this British-made ambivalence about the sacrifices of the First World War with the current American films that glorify the sacrifices of the Second World War.

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The true story of England's vanished regiment is revealed. It is one of the most compelling and curious legends of the First World War. Led by Captain Frank Beck (David Jason), a favorite agent of King George V (David Troughton, Madame Bovary), Sandringham Company was comprised entirely of servants, grooms and gardeners from the King's Norfolk Estate. On August 12, 1915 the unit marched into battle against the Turks in Gallipoli and simply vanished, never to be heard from again. Queen Alexandra, played by Dame Maggie Smith (Harry Potter and the Sorcerer's Stone, A Room with a View), was the driving force behind the investigation into the real fate of the battalion. But despite her extensive inquires, no trace of the men was ever discovered. Now, All the King's Men brings the details of what really happened in 1915 to the screen for the first time. It tells the story of these amateur soldiers, the idyllic life and loves they left behind in the quintessential English country estate and the horrors of an ill-prepared campaign to which they were subjected.

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A Private Function (1985) Review

A Private Function (1985)
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What a surprise that this perfect gem is not better known...such a loss. Britain during the early fifties had much to look forward to and much still to do. Everything was still rationed just as in the war years principally because the treasury was sacked to pay for the arms and munitions needed to fight it. The Empire (or what was left of it) was broke too and most that had not already done so went the autonomous route now, taking revenue away from London...though all quite peaceably and with everyone's best wishes. It would be ten years after the war ended (that makes roughly fourteen in all) until rationing would end for these isles, celebrated with the fantastic Festival of Britain in 1955, and people could at last look forward into a new Elizabethan age, rather than back on that darkness. My god Britain paid for that war in every way possible...really. What a period then to set a comedy I suppose...except that this particular story required those lean and austere times for the telling of it. Fresh meat you see...gammon, bacon, joints roasted and slavered with apple sauce...mouth watering! Imagine then the lengths you might go to for some of that after, let's say, eleven years of powdered egg.
Michael Palin as the hen pecked chiropodist, Maggie Smith as the social climbing hen, Liz Smith as the batty scatty mother-in law who'll stuff virtually anything and everything in her gannet gob, Denholm Eliot (as the doctor) who refuses to be impressed and so must be made so...along with everyone else in town who matters....I have never laughed so much. They are all that generation who would have been children (more or less) in this time period and all say how they never felt they went without....how they enjoyed their childhood's and wish it could be the same always...when you watch this you can see their point. This film and everyone's performance in it is superb. Please...for your good health and for your better and more cheerful disposition...buy this movie.

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Michael Palin (A Fish Called Wanda) teams with OscarÂ(r) winner* Maggie Smith (Gosford Park) in this uproarious comedy in which 'the laughs come fast(Variety) and the upper class becomes furious! Co-starring Denholm Elliott, Pete Postlethwaite and one divine swine, this hilarious comedy isalive and unruly, [and] the humor keeps boiling up(Pauline Kael, The New Yorker)!Life isn't easy in 1947 Yorkshire, where strict post-war rationing is putting the squeeze on the townspeople. But when a married working-class couple (Palin and Smith) discovers that the town's wealthy elite has been secretly fattening up anillegalpig for their own selfish gluttony, they hatch an outlandish kidnapping scheme that gives new meaning to the phrasebringing home the bacon ! *1969: Actress, The Prime of Miss Jean Brodie; 1978: Supporting Actress, California Suite

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Tea With Mussolini (1999) Review

Tea With Mussolini (1999)
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My wife insisted we watch this film - since it was not something in which I was interested (dramas and romances are not usually what I prefer to watch)I picked up a book and began reading. Within minutes, I was completely enraptured by this movie and forgot about the book. While a picture with the title TEA WITH MUSSOLINI sounds leisurely, trust me, it's not. It moves forward beautifully telling a true story of English and American women in Italy at the breakout of the war and its effect on them and the Italian child they have all raised together. This is a remarkable film (an epic in small movie disguise)with indelible performances from a perfect cast esp. Cher and Joan Plowright. Why neither they nor this film have appeared on many (if any) best of the year lists is completely mind-boggling to my wife and myself. The play is truly the thing here and director Zeffirelli has done a marvelous job telling a wonderful story (his own life)that's ultimately irristible. Filled with humor, hope and inspiration - words that usually make producers cringe these days but words that still mean the best in great moviemaking. My choice for best film of the year and one of the best of all time. A minor masterpiece. Please give it a try...I don't think you'll be disappointed if you're looking for something with great heart that has something to say about the dignity of the human spirit. Better than LIFE IS BEAUTIFUL. A gem!

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Florence, Italy, on the brink of WWII: it was a time of social unrest and, of course...afternoon tea. Join OscarÂ(r) winner* Cher and an incredible cast of leading ladies as they host this "radiant, beautiful film" (Gene Shalit, "Today Show") that is "worth savoring" (Mademoiselle).Prewar Florence is the place to be for any proper British woman who relishes culture and the arts. These ladies have everything they could ever want or needincluding a promise from dictator Mussolini himself that not even the imminent world war will impose upon their lifestyle. But when itappears that his word is not kept, and these expatriateswho chose to stay in Italy instead of seeking refuge in their own countryare in trouble, it takes a young outcast boy and a brazen American woman (Cher) to keep them in the high life and out of harm's way.

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Oh What a Lovely War (1969) Review

Oh What a Lovely War (1969)
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"Oh! What a Lovely War" takes on nothing less than the immense task of encapsulating the entirety of World War One into two and a half hours. This is a story of courage and sacrifice beyond comprehension, and of stupidity and heartlessness on a truly monumental scale. But the courage and sacrifice are not, as in the usual telling of tales, that of a handful of heroes, but of an entire generation. And the stupidity and heartlessness belong to the military and world leaders of the day. As monarchs, generals, and politicians wallow in luxury and privilege, the ordinary soldier wallows in mud - and brutal death. This is a story that will make you gasp and cry `never again.' And you know your cry is in vain.
A notice after the opening screen credits states something that must be kept in mind throughout the film: "The principal statements made by the historical characters in this film are based on documentary evidence, and the words of the songs are those sung by the troops during the First World War." Therefore, to underscore the absurdity of an international effort that did its utmost to murder an entire generation, much of the dialogue of the historical characters, comfortably ensconced away from the fighting, sounds absurd. Is it really possible, for example, that General Haig, after considering the huge loss of life on both sides, could have said something like "in the end, the Germans will have five thousand men and we will have ten thousand, so we will have won"?. Apparently so.
The men in the trenches, on the other hand, had the unenviable choice of facing probable death or mutilation on the battlefield, or facing the firing squad for cowardice if they deserted. They express themselves in the memorable songs of the day, many of which are rich in gallows humor ("hanging on the old barbed wire" is one cheerful refrain). But despite its gruesome themes, there is not one drop of blood in the film: when death comes, it arrives in the form of a bright red poppy.
Those who cannot relate to epochal events except through the eyes of a circumscribed set of characters may have trouble with this film. And some may find frivolous a film that depicts human tragedy through upbeat song and dance numbers (all of which are wonderfully staged and performed). But recall that the words sung are those of the actual participants in the unfolding tragedy. "We're here because we're here because we're here" underscores the troops' view of the meaningless sacrifice. If their impious words set to beloved hymns seem offensive, perhaps it is because when life is at its bleakest, humor can help save one's sanity.
This film, directed by the great Richard Attenborough, is a work of genius; it delivers a message that is all-too-relevant for our times.


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It was the War to end all wars – well not quite. For with the ricochet of one bullet, the entire course of human history was changed forever...Now, for the first time, Academy Award®-winner Richard Attenborough’s* directorial debut is available on DVD. Based on the stage musical by the same name, Oh! What a Lovely War features a stellar cast that includes Laurence Olivier, Ralph Richardson, John Mills, John Gielgud, Maggie Smith, Vanessa Redgrave, Ian Holm, Dirk Bogarde and Susannah York. By fusing the surreal with the factual and juxtaposing savagely funny satire with quiet sorrow, Attenborough has created the oddest and most outstanding film ever made about the "game" that became World War One.

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