February 15, 2016
Lucy Mangan, writing in The Guardian, had this to say about the film Esio Trot: “Just watch it. Once a week, I’d recommend, for the rest of your life.”
Some may think that suggestion is excessive, but it certainly heightened my curiosity, which had already been aroused by the fact that this BBC television movie co-stars Judi Dench and Dustin Hoffman. This movie, based on a children’s novel by Roald Dahl, first appeared on British TV in 2014 and still hasn’t been released in the United States. Nor is it available in a DVD format that will play on most American devices. But I poked around on the Internet long enough to find that the movie is available at THIS LINK. You can click on “CC” at the lower right to turn off the Dutch subtitles.
Esio Trot concerns Mr. Hoppy (Hoffman), an introverted aging bachelor who has two passions in life—the lush garden he keeps on his apartment balcony and his lovely and charismatic neighbor, the widowed Mrs. Silver (Dench). Although he and Mrs. Silver often meet, particularly in the apartment building elevator, and although Mr. Hoppy often chats with her when they are on their respective balconies, Mrs. Silver seems to reserve all of her affection for her pet tortoise, Alfie. Mr. Hoppy doesn’t have the courage to tell Mrs. Silver how he feels about her—that, in fact, he would like to marry her—but he sees an opening when she expresses her concern that Alfie never grows any larger. She had dreamed of a more imposing tortoise to keep her company in her solitude. Mr. Hoppy determines to fulfill this dream for Mrs. Silver, and he devises an elaborate, somewhat devious, and ultimately hilarious means of accomplishing it.
The story line in the movie departs from that in the novel, and the differences include a character who appears only in the movie—the boorish Mr. Pringle, played by Richard Cordery—who is Mr. Hoppy’s rival for Mrs. Silver’s attention. The movie is also enlivened by the presence of James Corden, who narrates the story while rushing around London.
Judi Dench, Dustin Hoffman, Richard Cordery, and James Corden are perfect in their roles. (No one is better than Hoffman at playing woebegone figures, and Dench—well, she’s Judi Dench, for Pete’s sake.) But the texture of this movie is made richer by the fact that all the minor characters, from children to shopkeepers, are perfectly cast and utterly believable in an implausible situation.
I don’t know about once week, but I certainly recommend that you watch Esio Trot.
January 18, 2015
Having seen the ravages of Alzheimer’s Disease up close — having lived with them actually, we don’t go out of our way to see the subject dramatized. The other night, however, we were glad we stumbled on Iris, a 2001 movie starring Judi Dench, Jim Broadbent, Kate Winslet, and Hugh Bonneville. This film is based on the life of Iris Murdoch, a prominent British novelist and philosopher in the second half of the twentieth century. While she was a young woman teaching at Oxford, Murdoch fell in love with another Oxford academic, John Bayley, and eventually married him. It was what Puccini’s librettists might have called “a strange harmony of contrasts. Winslet was confident, high-spirited, articulate, and promiscuous, and Bayley was awkward, stuttering, shy, and virgin.
Their story, based on Bayley’s written accounts, is told in turns by flashbacks to the tumult of their early life together and a portrayal of the gradual deterioration of the elderly Iris’s mind. At the center of the story is John Bayley’s enduring love for this woman, even when her dementia frightens him and strains his patience. Dench and Winslet play the elder and younger Iris, and Broadbent and Bonneville play the elder and younger Bayley. This casting was inspired, because in both cases the premise that we are watching the same people at different stages of their lives is convincing. The quality of the performances is reflected by the fact that, among many accolades, Jim Broadbent won an Oscar and Judi Dench and Kate Winslet were nominated. Why Hugh Bonneville wasn’t nominated I can’t imagine. Those who are familiar with him in vehicles such as Belle and Downton Abbey will learn something about his range by watching him in this film. Incidentally, fans of Downton Abbey and The Best Exotic Marigold Hotel might be pleased to see Penelope Wilton’s performance in a significant supporting role in Iris.
December 7, 2013
We saw the movie Philomena last night, and I was intrigued by the reference to Jane Russell. I think it’s well known by now that the movie deals with the practice of some convents and other institutions in Europe to force single young women to surrender their children for adoption and to require a large donation from American couples to take those children to the United States. The movie has to do with a particular instance in which a woman named Philomena Lee, whose child was taken from her in that manner, attempts decades later to find out what became of the boy.
In the more or less true account, Dame Judi Dench plays Philomena, who — in the company of a freelance writer — visits the convent where she was left by her father after becoming pregnant at the age of 18. The reporter notices among the photographs hanging in the reception room at the convent an autographed, provocative photo of Jane Russell. He asks a nun about the photo, and the clear implication is that Jane Russell was among the wealthy Americans who “bought” a child at this convent. That caught my interest because I met Jane Russell in 1971 when she was appearing here in New Jersey in a production of Catch Me If You Can. In fact, I had coffee with her in Manhattan and one of the topics of our conversation was adoption.
Jane Russell told me that during her first marriage, which was to Hall of Fame quarterback Bob Waterfield, she visited orphanages and similar institutions in five countries in Europe and was frustrated to find that it was nearly impossible for an American couple to adopt the children who were languishing there. She eventually did adopt three children, but her experience in Europe also inspired her in 1952 to found the World Adoption International Fund which eventually facilitated tens of thousands of adoptions. She became an advocate for adoptive parents and children, testifying before Congress in 1953 in favor of the Federal Orphan Adoption Bill which allowed American parents to adopt children fathered by American troops overseas. And in 1980 she lobbied for the Adoption Assistance and Child Welfare Act which provides financial assistance based on the particular circumstances of foster and adoptive parents and adoptive children.
From what I have read so far, I deduce that Jane Russell did not adopt a child from the convent that is the focus of Philomena. I did read an account of an interview in which she told a reporter that after having failed to adopt a child in England, she was going to try her luck in Ireland. Whether any of her eventual adoptions amounted to “buying” babies, I cannot tell. I do notice that news stories that refer to her as one of the wealthy Americans alluded to in Philomena do not go on to report her work on behalf of adoptive parents and children.
November 22, 2012
When we took a bus tour of London many years ago, the guide pointed out that all the iron work outside the apartment windows was painted black. She said this practice dated to the reign of Queen Victoria, who was so distraught by the death of her husband, Prince Albert, that she called for the paint job as a sign of mourning. That sounded a little hokey to me, but it made a good story.
Victoria’s mourning for Albert, who died in 1861, was no joke, however. The queen was plunged into a lengthy state of depression, and lived a comparatively isolated life for a British monarch, although surrounded by her children and official household. One person who managed to pierce the shell around the queen was John Brown, a Scottish servant. Their relationship is the subject of the 1997 film “Mrs. Brown,” which stars Judy Dench as Victoria and Billy Connolly as Brown.
The queen had retired to Balmoral Castle after her husband’s death, and Brown — who had a long-standing association with the family — was sent there principally to care for her pony and accompany her when she chose to ride.
From the start, Brown showed the queen none of the truckling deference she was accustomed to. In fact he spoke to her rather bluntly, addressing her as “woman,” and said exactly what was on his mind. This appealed to Victoria, and she started to rely more and more on Brown’s advice, and he more and more took control of the affairs of the castle, and particularly of anything that had to do with the comings and goings of the queen.
This development along with Brown’s abrupt personality and penchant for drinking irritated pretty much everyone else in the household, especially Albert Edward, the prince of Wales, the queen’s son and later King Edward VII. Meanwhile, there was mounting pressure for Victoria to become more visible to her subjects — pressure that included a movement in Parliament to deinstitutionalize the monarchy. At first Brown supported the queen in her resistance to this pressure, but his change of heart on the matter led to a crisis in their relationship.
To what extent, if any, there was a romance between Victoria and John Brown is still a matter of conjecture. Certainly folks at the time thought there was something afoot, and that’s why the queen was derisively referred to as “Mrs. Brown.”
Although certain aspects of the story are fictionalized in this account, the movie basically portrays real events. The film was made by the BBC for television, but instead it was released as a theatrical property and made a lot of money. The performances, including Anthony Sher’s turn as a foppish Benjamin Disraeli, are outstanding. Judi Dench won a Golden Globe Award and was nominated for an Oscar.