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This film is set on a great English estate during the last days before the outbreak of World War I. A superb cast including James Mason (in his last role), Robert Hardy, Edward Fox and Gordon Jackson combine their talents to produce a wonderful, if gloomy, peek at the comfortable world of Queen Victoria and King Edward VII that was about to come tumbling down. The plot foreshadows the social and moral upheavals that will be faced but does so with a grace and subtlety that makes this a film worth seeing.

If you like Merchant/Ivory films, then you will also enjoy this one. It moves slowly but surely as we witness the sun setting on the aristocracy and on the British Empire, set in the microcosm of an English country estate. These people are doomed, in various ways, but, more than that, a way of life that flourished for centuries is about to be extinguished by the slaughter of WWI. James Mason is the lord of the manor and plays the part as if he were born to it. This was his last film and it makes you realize how much he is missed. Edward Fox has a field day playing the weak, tradition bound guest who can't abide being bested and Cheryl Campbell is terrific as his wayward wife. There are many good supporting roles but Gordon Jackson, as one of the "beaters" is a stand-out; his final scenes are brilliantly done. Sir John Gielgud walks through as a protester against the hunt and sparkles in that small role. It is sometimes difficult to figure out who is related to whom since there are a lot of characters, all of whom have some interrelationship. This is a beautiful film, rich in scenary and it captures a time and life that died in the trenches of the Great War. Highly recommended.

The Shooting Party is an elegant, stately film with radical undertones very much represented by the John Gielgud's character.

However this is James Mason's film, his final movie before his death and to think he was a last minute replacement for Paul Scofield who had got injured on set and had to pull out.

Mason plays Sir Randolph who holds a weekend shooting party in his estate with fellow aristocrats from home and abroad. There are strict rules of conduct from the way you dress, the way you eat, the shoot itself and you conduct yourself in front of servants.

What we see is petty rivalries, loveless marriages, discreet affairs and the foreign aristocrats showing an arrogance to the lower orders.

The setting is Autumn 1913, they do not know it but it will be the last shooting season before the outbreak of The Great War. Sir Randolph senses that the country is changing but not yet realising at what great extent. Look at the sincere way he talks to Gielgud's pamphleteer who objects to the shooting and proclaiming animal rights. It is the servants and the lower classes who seemed to be more conservative and think things will always remain the same.

The bird shooting scenes anticipates the slaughter that will follow in the trenches a year later, the tragedy that occurs signifies a change in the rule of the games and in the final credits we are informed that several of the characters died in The Great War.

It is easy to dismiss The Shooting Party as another heritage film that was popular in the 1980s and 1990s. It has a bite to it as well as being uniformly well acted.

It is Autumn 1913, and war is looming in Europe. In the English countryside, the aging Sir Randolph Nettleby invites a group of his peers for a weekend of pheasant shooting. Among them are the haughty Lord Gilbert Hartlip- who considers himself to be the best shot- as well as the urbane writer Lionel Stephens, who is in love with the married Lady Olivia Lilburn. As personalities and attitudes clash, the weekend proceeds, and Sir Randolph begins to see his way of life fading into obscurity.

Directed by Alan Bridges and based on Isabel Colegate's novel of the same name, 'The Shooting Party' is a profound ensemble piece examining the waning of the aristocracy, in the last summer before The Great War. In some ways, it is comparable to Jean Renoir's 'The Rules of The Game,' through its portrayal of the decadence and decline of the peerage, as well as its use of the motif of hunting as a metaphor for the violence and cruelty of the upper classes. 'The Shooting Party' is a more sombre affair, though, focusing on the contrasts between the rich and poor, as well as the difference in attitude between generations.

Colegate and Julian Bond's screenplay contains sharp dialogue and astute characterisation, with an engaging narrative full of drama and pathos, examining a multitude of themes; namely the inevitability of change, the loss of innocence and the futility of war. The film shows how the aristocracy is losing its power and prestige, as the industrialization, urbanization and democratization of society are transforming the world; whilst foreshadowing the impact of the war, which will bring an end to the old order and usher in a new era.

Additionally, 'The Shooting Party' highlights the innocence and ignorance of the rich, who are oblivious to the impending war and the suffering of the lower classes. They enjoy their leisure activities and indulge in their affairs, without realizing the consequences of their actions. Moreover, it shows how the war will shatter their innocence and force them to face reality.

Bridges contrasts the beauty and harmony of nature with the brutality and chaos of warfare. The character Cornelius, a pacifist, notes the similarity between hunting and war, saying, "It's all part of the same thing. The same madness. The same contempt for life." He also predicts that the coming war with Germany will be "the greatest catastrophe the world has ever seen."

Furthermore, 'The Shooting Party' reflects on the historical and social context of its time, as it depicts the last days of the Edwardian era, which was marked by stability, prosperity and elegance, but also by inequality, hypocrisy and callous decadence. The film also relates to contemporary issues, such as the environmental crisis and the social justice movement. It invites the viewer to question their values and choices, and implores one to learn from history.

'The Shooting Party' is grandly photographed by Fred Tammes, whose rich cinematography creates an earthy palette, contributing to the tone of Colegate and Bond's narrative. His panoramic shots of the countryside convey the beautiful harmony of nature, while his close-ups of birds and other animals emphasizes the vulnerability and fragility of life. Moreover, he creates a stark contrast between light and dark colours, reinforcing the contrast between the upper and lower classes. Textured and striking, Tammes' work lingers in the mind long after the credits have rolled.

Also deserving of praise is John Scott's mournful and reflective score, which makes excellent use of pieces by the likes of Elgar and Ralph Vaughn Williams, bringing additional drama to proceedings. Tom Rand's costume design is also impressive, capturing the style and status of the characters, as well as the mood and period of the film. His work creates a contrast between the rural, natural setting, producing a visual tension between the artificial and the organic. Morley Smith's detailed production design is of a particularly high quality, recreating the setting and atmosphere of the Edwardian era; essentially transforming Knebworth House and its grounds back in time to 1913.

An ensemble piece, 'The Shooting Party' features a large cast of talented actors working at the top of their games. His last film, James Mason showcases much vulnerability and sensitivity as Sir Randolph; delivering a nuanced performance that cements his reputation as one of cinema's greatest actors. Edward Fox is superb as the steely, tight-lipped Lord Gilbert, while Gordon Jackson steals all his scenes as one of the local beaters with ease. The great John Gielgud and Judi Bowker both give masterful performances as the pacifist Cornelius and Lady Olivia, respectively, while Cheryl Campbell is consistently excellent in the role of the self-interested Lady Aline Hartlip. Additionally, Aharon Ipalé does laudable work as the Israeli Sir Reuben Hergesheimer; a charming outsider who watches the party with a cynical eye.

A fascinating piece of filmmaking, Alan Bridges' 'The Shooting Party' is a must watch for fans of Merchant Ivory films- or indeed- cinema in general. Containing an engaging narrative, strong dialogue and sharp characterisation, the film fires on all cylinders; so to speak. Boasting breathtaking cinematography, lavish production design and a moving score, it is an evocative and atmospheric watch from start to finish. Featuring masterful performances from all in the cast- led by the late, great James Mason- Alan Bridges' 'The Shooting Party' will truly blow you away.

The Shooting Party is set in 1913, which is not very long ago, and yet is another world. This was the last year of the old world, and the start of the modern world. The opening narration by James Mason sets the theme: that the world of the haves and have-nots is doomed, and that the future holds great change.

This was Mason's last film, and his was a part very well suited to him. He is the great patriarch, head of the family, and benign chief of the great estate. He is not a soppy fool, but he is kind and means well to all. He invites many aristocrats to his estate for a few days of shooting, and these arrive, with their servants.

In the house, then, are representatives of much of the world at that time: the upper classes, some British, some foreign, and the lower classes, some servants, some local rustics who will be the beaters for the shoot. The film then shows us how they are all behaving.

Both the upper and the lower classes are stuck in their ways, though if anything, it is the upper class which questions whether this is the way things should be. When the shooting pauses for tea, the posh folk sit elegantly but uncomfortably in a clean white marquee, and drink from china, while the beaters look far happier drinking from mugs from a communal urn and chatting amongst themselves.

The foreign aristocrats are haughty, and annoy the British by referring to the beaters as "peasants". The British aristocrats are not happy. Two young idealists are in the agony of a forbidden love, others have sham marriages or petty rivalries.

The world is one full of love, but much of it frustrated. A boy has a pet duck, which he fears will be shot. Mason has a liking for a local poacher whom he hires as a beater, despite the contempt which the hunt master has for the man. By the end of the film, you feel great liking and sympathy for many of the characters.

To get the most from this film, some knowledge of history and British culture is required, but there is much to like in this film without these. The acting and dialogue are good, the setting atmospheric, and what is being said about the people of the time is so very fair. This film does not hammer home any of its points, but shows both the good and the bad in the characters, and lets the viewer decide.

All through the film, our present-day knowledge of the slaughter to come in the churned mud of the Somme, Ypres, Paschendale and the Dardenelles stays with us, affecting the way we perceive every nuance. The film makers were clearly aware of this, and take full advantage of it.

The ending is one of the most moving I know from any film. Simple, yet very effective.

This is an extremely poor film. It is awfully self-conscious, with stilted dialogue that barely advances the plot and does even less in fleshing out the characters. The performances, for the most part, suffer from being restricted to stilted mannerism or speechifying and the whole thing lacks the sort of vigor needed to provide dramatic momentum. The photography is never more than functional, and at best the editing denies the film much needed energy, while at worst, it has all the subtlety of a sledge-hammer (note the scene in the dining room when one the characters says he thinks that a civilization is coming to an end and there is a cut to a log breaking in the fire). The score meanwhile, seems to have been lifted from a temp track and poorly mixed, and while the locations and costumes are absolutely authentic, you can only wonder what the likes of Merchant-Ivory would have done had they gotten their hands on it.

But then, perhaps they would have passed. The whole story is so precious about itself and the passing of an age, it lacks the one crucial element that would have allowed the film to endure at least beyond its own age: a sense of humor. And I don't mean exclusively comedy. I mean a range of emotions: a SENSE of humor. The whole thing is so relentlessly and self-indulgently maudlin. It needed a lightness of touch, verbal wit, satire... in terms of cinema, what it needed to study was Renoir's masterpiece The Rules of the Game. That movie had everything: wit, motion, a sense of cinema, fully fleshed out and contradictory characters, each one of them flawed in their own unique but understandable way. What is more, Renoir made his film in 1939 as a contemporary commentary... and somehow, the comedic strain is one of the reason why that film is still considered a masterpiece.

The Shooting Party is a film (based on a book) that appears to have taken at least part of Renoir's plot and then, although written in 1980, decides to push its time frame back to the eve of WW1. But even with that added view of history, it adds nothing to what Renoir achieved. On the bonus material for the DVD, we are told that it is a classic, one of the greatest British films ever made. Says who? The producer of the film? Claims are made that it broke all sorts of box-office records across the globe and was festooned with awards left, right and centre. It appears to me that the makers of that particular DVD documentary are almost as delusional and pompous as the characters in the film. At least when Julian Fellowes wrote Gosford Park, there was a self-awareness about the proceedings and so, the film has the confidence to send itself up at the same time. LIke all great Altman films, Gosford Park captures a moment when a culture shifted... and leaves you both regretful and grateful that the shift occurred. The Shooting Party leaves you wondering how on earth some people lavish it with such praise.

Somewhere there should be a private museum dedicated to memorializing one of the most important vanished species-- the lady.

While it is easy to see the fine acting of Gielgud, Mason, Fox and the other men, what no one has yet commented on is the equally fine work of a too-seldom seen actress... Judi Bowker.

As Lady Olivia, she shows the compassion, consideration, perfect balance, and dedication of an Edwardian lady at her finest. She is not only a luminous beauty, but she is moved by a gallant and delightfully indirect invitation to adultery by Lionel, but does not succumb for her own reasons. She notices what happens to the children, she treats every other person in the film as an individual, and her unselfishness in no way detracts from her presence. Miss Bowker's subtle performance is well worth a careful look.

THE SHOOTING PARTY is clearly an envoi to a vanished era. But in an age that can't see the difference between Melanie Wilkes and Scarlett O'Hara that was Margaret Mitchell's key contrast and thinks SEX AND THE CITY is a model for feminine conduct, Judi Bowker's performance is a revelation,

While the whole film is beautifully accomplished on all levels, acting, directing, sense of time and place, the scene between James Mason and John Gielgud, which takes place during a shoot, reveals acting that has gone beyond acting. It is one of the most exquisite scenes in the history of the cinema. Mason and Gielgud are perfect.

I purchased this film just by chance as it seemed interesting. I had to view this title twice to get the picture so to speak. I have never heard of this production before so did not know what to expect. After viewing with a decent bottle of wine, I found the film thoroughly enjoyable with the all star cast. I was sorry to learn that this film was James Mason's last. A good performance by all the cast especially by the stunningly beautiful Judi Bowker (Olivia) who I can just remember as a sickly teenager in the TV series Black Beauty. So, was the DVD worth buying?? Answer is yes. I will even visit the location which is Knebworth house which was unknown to me.

I cannot believe how badly the point of this film must have been missed! I am no snob, but people can't have understood the core ideas behind the film as otherwise it would be regarded as a classic.

I thought the film was very sad and a great reflection on a English time and traditions passing. The time of drinking fine wines and eating fresh game will be shortly over with the pending war.

James Mason is just perfect in this film! He represents the "good old boy" with principles and values that the younger more competitive Edward Fox misses. This partnership is a beautiful juxtaposition, both understated and acted masterfully.

ANyway, slight rant over but please watch again if you were not sure one way or the other

gareth

If you remember Upstairs/Downstairs on PBS about the two different worlds in one house in London before the Titantic sailed and barbed wire and mass slaughter decorated the landscape of Europe,then this is a perfect accomplishment. Gordon Jackson who played the butler in the series is cast here as a poacher who gets hired to become a beater, someone who rouses the targeted wildlife in this case grouse I believe into the gunsights of the "swells". The English have a love- hate relationship with that time of determined inequality; James Mason in his last role, plays the lord of the manor,an intelligent patriarch of his ancestral holdings,several steps above the stereotype of a haughty inbred weasel satirized memorably by the Monty Python crew in their "Upperclass Twit of the Year" sketch. Mason is an aristocrat with a capital A who feels it is his DUTY to be the best not an entitlement. The others in this film range from starcrossed lovers he doomed to be a casualty of 20th Century warfare,the others representing snobs,fools, frivolous yet empty souled individuals who actually believed a little bloodletting would revitalize their spirits during the hunt and the subsequent war. While they may resent the foreigners for calling the ir English lackeys peasants it is how they treat them. Except for James Mason they are his yeomen the family's men at arms who probably followed his ancestors into battle when they raised a regiment of horse or foot for whatever struggle be it against the rival Europeans,killing rebel Scots or Irish ,or tangling with those American Cousins. Watch this film and see the difference between being a star and being an actor

A truly memorable and dramatic performance by James Mason as he hosts a shooting party on his estate before the eve of WW1. A slow paced story with excellent dialogue and stunning cinematography. A must have for my permanent collection.

I see it has been some years since this small film has had a review. I replaced an earlier copy with the update digitally restored version and the improvement over the old DVD is huge. You can actually hear the dialogue.

The book is somewhat trite and obvious, but a decent summary of the upper class's thoughts going into the great war. What makes the move worth watching is the acting. Gordon Jackson plays the parts he usually plays, but with good depth and the death scene is both odd and moving at the same time.

But James Mason, who was dying at the time, has a depth that extends beyond the novel or the surface of the film. His quiet mourning for a disappearing life, lack of the romanticism and competitiveness seen in his guests and his solidity and kindness are lovely. The meeting with John Guilgood is an exhibition in two ancient actors not acting, but inhabiting character. The death scene with Jackson, ending with "God save the British empire" is acted that what could have been maudlin or just plain silly, works.

A small film, but very worth owning and watching one a year.

Frankly, much of this movie is all but indecipherable to the American ear, with much muttering done in what we deign to call a heavy English accent. However, if you keep your fingers over the remote volume control and the rewind button, you can stay with the story. Whether you do or not is up to you, but DON'T leave before you enjoy one of the greatest scenes in all moviedom.

There comes a time during the shooting when John Gielgud, as an anti-hunting pamphleteer, marches boldly into the line of fire and disrupts the hunt. James Mason, as the Lord of the manor, takes him aside. The conversation they have is delightful, amazing, perfectly written, perfectly acted. It is a joy. (Mason, "Ahhh, special terms.") It is the only portion of this film I have on tape!

If you enjoy movies for the magic moments they contain, as Yogi Berra once said, "Don't miss it if you can."

THE SHOOTING PARTY, based on the novel by Isabel Colegate, is one of those low-budget films that tends to be characterized as a "heritage film," offering incidental pleases to viewers who are prepared to make the effort, but perhaps not pitched at general audiences.

Nothing could be further from the truth. Alan Bridges's work is both a technical and thematic masterpiece, brilliantly making use of cinema's resources to comment on British insularity both before and after World War One.

The first few sequences pass by exceptionally quickly: few of the guests at Sir Randolph's (James Mason's) home have time to talk with one another, as they are perpetually occupied in dressing for dinner, eating food, and discussing the next day's hunting. We wonder why they seem so desperate, especially in view of their privileged lifestyle. The answer emerges gradually; they are pathologically incapable of expressing their true feelings. Lord Gilbert and Lady Aline (Edward Fox, Cheryl Campbell) are unhappily married yet stay together for the sake of form. Lord Bob (Robert Hardy) makes himself agreeable to everyone without saying anything of any value. They seem hell-bent on preserving what they perceive as the "old values" that made England great in the Victorian era without in the least understanding how worthless they have become.

The "Hunting Party" of the title refers to a three-day shooting festival, where the aristocrats indulge in hunting just for the sake of it, loyally supported by Sir Randolph's band of servants. No questions its morality, save for lifelong pacifist Cornelius Cardew (John Gielgud). Director Bridges slows the action down quite significantly here, allowing viewers to acknowledge the regular - and uncomfortable - series of gunshots accompanied by tight pans of the birds falling dead. The parallels between such sequences and the forthcoming conflict in World War I are obvious; only in the future it will be human beings rather than birds who will perish.

The action attains a human dimension when we discover that the little boy Osbert (Nicholas Pietrek) is desperate to save his pet duck from the carnage. As he wanders desperately about the dawn- misted landscape before the hunt is about to start, we realize just how destructive humanity can be as they disrupt the balance of nature for their selfish pleasures.

Although Bridges does not exempt his characters from criticism, he manages to introduce a Chekhovian element into the film's latter stages. While no one can ever contemplate a future different from the past, the aristocrats are in a sense victims of circumstance, lacking both the power and self-awareness to change their lives. This element is emphasized in a highly poignant moment as Sir Randolph vainly tries to offer succor to one of his servants (Gordon Jackson), who has been accidentally shot, but finds himself emotionally incapable of doing so, and bursts into tears quietly.

Released only three years after the Falklands Island invasion of 1982, widely celebrated at the time as a great victory for British pride, THE SHOOTING PARTY offers a chillingly downbeat interpretation of jingoist attitudes that prove more destructive than beneficial.