Das Leben ist süß

...are the small ones.

Mike Leigh worked with his relatively small cast (five main cast members and about four supporting cast members), improvising characters, devising scenarios and plots, and came up with this; one of his earliest masterpieces.

The plot is simple enough. A couple of days in the life of a working class London family. There isn't really a plot as such. A couple of fairly deep issues are dealt with, such as eating disorders and depression, but other than a few moments, all we are doing is watching a family live their life: a strong hard-working mother (Alison Steadman); a weaker easily-led by his mates father (Jim Broadbent); and their twin daughters: Natalie (Claire Skinner) - resourceful and kind-hearted but with a strange tendency to wear men's shirts and down pints - and Nicola (Jane Horrocks) - screwed up, rude, irrational and painfully insecure in both her looks and her intelligence.

The performances brought out by this form of filmmaking are superb - as they are in all of Leigh's movies (Secrets & Lies, Career Girls and All Or Nothing are all worthy of viewing, but especially Secrets & Lies). However, Alison Steadman is the standout (perhaps for no other reason than she has the most screen time), the driving force that brings all the family together. The scene in which she finally cracks and loses that nervous laugh to tell Nicola a few home truths and break down the barriers that Nicola has put up between herself and the rest of the world, is so beautifully written and terrifically performed that it is a shame that Steadman in particular was not Oscar-nominated.

Only one or two criticisms struck me. One was a slight lack of development of the other daughter. What exactly DOES make her tick? Am I merely stereotyping by assuming she is supposed to be a lesbian? Or is she just happy being so masculine in her dress-sense and mannerisms - (she isn't even offended by a client who calls her a 'good lad')? We never find out, because the film focuses a little more on her sister. It certainly appears that her mother suspects her daughter of being gay, but for some reason the subject is never brought up.

Similarly, a couple of loose ends are never tied up. The caravan and the restaurant in particular. But I guess we have the prerogative to make our own endings up haven't we, so that's a good thing in many ways.

I think at the end of the day, people will either like all of Mike Leigh's films or none of them. And I'm in the former group. His work is beautiful and always touching.

A superb example of Mike Leigh's directing method - working with his actors, many of them regulars, making up most of the script as they go along.

No falling empires or coveted magical rings here, just the small victories and tiny despairs of everyday life - Timothy Spall's ridiculous restaurant ("Liver in Lager"??), Jane Horrocks' eating disorder and general estrangement from the world, Jim Broadbent and his grimy little burger van, Clair Skinner's endearingly sensible tomboy plumber... all exquisite little portraits. Best of all is Alison Steadman as the suburban Earth-mother trying to hold it all together.

It shows, above all, that a great film can be about anything really, as long as the direction, acting and script is of this calibre. Ben Hur, it ain't!

Absolutely marvelous - 9/10.

What can I say that previous fans of this movie have not said yet? I think that Mike Leigh is the best filmmaker working today. So, I won't bother rehashing the story line.

I am convinced even thinking back to 1991, when it was released in the US, that Life is Sweet was the best of that year. That year was remembered more for, among others, Schindler's List, The Remains of the Day and The Piano.

Alison Steadman seemingly insensitive lighthearted outlook on the world -laughing after nearly every sentence she or others utter, which incredibly I never tired of (an amazing feat), is all just her way of dealing with life. She sees it for what it is. The scene where she explains to her daughter Nicola how much of a sacrifice that she and her husband have made for the sake of their family is one of the most touching I have seen between a mother and daughter. I felt as though I was eaves-dropping while watching it. What a pleasure!

Mike Leigh is one of the true independent auteurs in the British film industry, and one of the few major British directors who has not allowed himself to be seduced away by Hollywood. His films, generally based on modern urban English working-class or middle-class life, concentrate more on character than on action and have a very distinctive style which arises out of his equally distinctive method of working, based upon allowing a story to emerge through improvisation, rehearsals and discussions with his cast before shooting actually begins. He generally uses a select group of actors, including Jim Broadbent, Timothy Spall and his one-time wife Alison Steadman.

Broadbent, Spall and Steadman all appear in "Life Is Sweet", a comedy based upon the lives of a family from the North London suburb of Enfield- father Andy, mother Wendy and their 22-year-old twin daughters Natalie and Nicola. Andy works as a chef, but hates his job and harbours ambitions of running his own business. He has bought a dilapidated fast-food van which, at some unspecified future date, he intends to clean and restore in order to start up a fast-food business, but has not taken any further steps towards realising his goal. Another major character is Andy's friend Aubrey, another chef, who has taken his own entrepreneurial ambitions a stage further by opening his own French restaurant named "The Regret Rien" after the Edith Piaf song.

Like a number of British film-makers from the eighties and early nineties, Leigh made his films from an essentially left-wing position and was critical of the Conservative government of Margaret Thatcher. "Life is Sweet", which appeared in the last year of her premiership, can be seen as a veiled satire on the cult of the entrepreneur which flourished under Thatcherism and on the tendency to see business, both big and small, as the sole key to national success. The characters of Andy and Aubrey are well contrasted. Andy is a competent chef but lacks the drive to become a successful independent businessman; his ambitions never seem to amount to much more than vague daydreams. As Wendy says, he has "two speeds, slow and stop".

Aubrey, by contrast, is a man whose inordinate faith in his own abilities is matched only by an incompetence which will surely doom his business career to failure. Much of the humour derives from the bizarre nouvelle cuisine dishes he takes a perverse pleasure in devising. (Saveloy on a bed of lychees, anyone?) When Aubrey's business does not work out as well as he hoped he takes refuge in alcohol.

The film is as much about Andy's home life as his work life, if not more so. His two daughters, although twins, are completely unlike both in looks and in character. Natalie, crop-haired and chunky, is a tomboy who works as a plumber and spends her leisure time playing pool and drinking with her male workmates. Nicola, who is unemployed, is extremely thin, a sufferer from bulimia and a chain-smoker. Whereas Natalie is relatively placid, Nicola is neurotic, bitter, foul-tempered and much given to hurling abuse at her family and acquaintances. She claims to believe in various left-wing causes- "capitalist!" is her favourite insult for her father because of his business ambitions- but never does anything active to further them. Natalie does not appear to have any romantic interests in her life- none of her male drinking chums count as boyfriends, and although some have seen her as a stereotypically "butch" lesbian, she has no girlfriends either. Nicola, by contrast, has an active sex life, although a rather odd one- she likes her rather reluctant boyfriend to smear chocolate spread over her chest.

The two acting performances which really stand out come from Spall as Aubrey- a brilliant comic creation- and Jane Horrocks as Nicola, an equally brilliant tragi-comic one. The film is, however, really an good example of ensemble acting, and there are also great contributions from Steadman as Wendy and Broadbent as Andy.

With its general theme of frustrated ambition and a character as unbalanced as Nicola, "Life is Sweet" could easily have been made as a tragedy. Yet that title is not meant ironically. Leigh might not be a large-C Conservative, but this film suggests that he is a small-c conservative when it comes to family values, and the film is very much about family life. For all their eccentricities, the family at the centre of "Life is Sweet" is not intended to be portrayed as a dysfunctional one. It is a family that functions, although in ways that outsiders might perceive as strange. The sensible, steadfast Wendy and Andy, who beneath some surface peculiarities is a deeply caring man, have an unconditional love for their daughters. They are prepared to make allowances for Nicola's behaviour, which is the result of emotional insecurities rather than spitefulness or malevolence. "We don't hate you! We bloody love you, you stupid girl!" (We learn that Wendy got pregnant with the twins as an unmarried teenager but refused to have an abortion because of a belief in the sanctity of life).

After all the storms, the film ends on a note of calm and hopefulness. This is one of the most distinctive, and one of the best, British social comedies from the early nineties. 8/10

... as is the case with many films in the Criterion collection, because this film does not set things up nicely for you. It is a slow reveal for all of the characters with the basic theme of "hope springs eternal" or maybe "Life is what you make of it". So after I had gotten a feel for the characters I went back and rewatched it to see what I didn't pick up the first time.

The focus of the film is a working class London family. Wendy works in a shop as a salesperson. Her husband is a chef in a restaurant. They got married at 17 - with her having to drop out of college - due to her pregnancy that produced twin girls. You'd think then that this would be about their disappointment with how their lives turned out, but they are almost annoyingly positive. Wendy is the strong one, always smiling. Husband Andy is also always smiling and seems easily led by his friends. He just never gets around to fixing things around the house, and one friend (Stephen Rea), an obvious con artist, works his magic on Andy and gets him to spend money he does not have on a broken down fast food van. Andy has dreams of fixing it up and going into business for himself as he hates his job. And oddly enough Wendy doesn't explode at this expense and is very supportive. She seems to laugh her way through life.

One thing that she can't laugh through though is her daughter Nicola. She is about twenty, anorexic, a chain smoker, and completely hostile to everybody. She just sits in her room all day blurting out insults to everybody. You wonder if she is starving herself in hopes she will eventually just disappear. The other daughter seems well adjusted enough and is working as a plumber. She seems sexually ambiguous, and though nothing in the plot goes in that direction, I had to wonder if that is just me stereotyping or if it is the fact the film is 30 years old and films stereotyped too back in those days.

The family's other friend is Aubrey whose "big dream" is a Parisian themed restaurant. But his taste in decor is bizarre and tacky, he selects employees based on tenuous personal connections, and he has placed his restaurant between two businesses that would not bring foot traffic - one is a medical equipment supplier, and he has forgotten to advertise the restaurant. The result is disastrous.

The best scene in the film is one between Patsy and Nicola in which they finally have a confrontation. So much of what I have said is explained in just this one scene. Patsy does have an inner core, she can be serious and Nicola can be reached, whether she wants to admit it or not. Somebody should have gotten an Academy Award nomination just for this scene.

If you don't like this the first time, then give it a second try. I think it will grow on you.