Amerikanische Freundinnen

Rev Francis Ashby is a bookish and retiring don at Oxford who reluctantly gives in to his colleagues insistences that he go for a holiday. Enjoying the peace and quiet in the Alps he is initially disturbed by the arrival of a group including an American woman (Caroline) and her teenager ward (Elinor). However, acting as their guide when the rest of the group returns to the lodgings, Ashby starts to fall for the darling Elinor but, after slight bonding, he is called back immediately due to the failing health of the college president. When his American friends come to Oxford to visit, their arrival throws the college into a tizzy and he finds himself in competition with others for not only the role of president but also for the hearts of his friends.

Watching this film for the third time since its release in the early nineties I decided to review it and, looking at the title page was astonished (yes, really) to see that only 106 people have voted on it. I know this is not a total representation of how many people have actually seen it but I was surprised how such a well-known film appears to be underseen (although it may say more about the demographics of those that use this site most). This is not to imply that it is an excellent film but it is a well paced film that is enjoyable on its own terms. For those expecting great sentiment you will be let down, likewise those expecting a Merchant Ivory film, or a very comic film but those open to a nicely sensitive little tale that is slightly comic but more enjoyable for being restraining and being very true to the Englishness of its subjects and the polite behaviour of the period.

Based on his own grandfather's diaries, Palin has done a good job as both writer and director to capture the period and deal with the subject in a way that is unshowy but not stale, sensitive and patient but never dull and comic without ever being so crude as to actually make you laugh out loud. It isn't fantastic of course but it is nicely lowkey and it is enjoyable for what it is. As actor Palin continues this good work and he delivers a very restrained and shy performance – even more amazing when you think this is a Python! Booth and Alvarado are both very attractive and restrained at the same time and effective if not memorable. Molina, currently playing a superhero baddie, plays a 'baddie' of another sort here and he pitches his character well to be dastardly while still keeping within the period. Support from Jones, Firth, Eddison and others is good and they all keep to the period and the material yet.

Overall this is not an amazing film or even a really good one, but what it is is a well written period drama that is delivered well enough to prevent it being dull and it comes over as a nice little film that is pleasing to watch even if it never sets the screen on fire. An undervalued little drama that is a well handled, very personal film from Palin who does very well in all three of his roles.

This film, based on the journals of Michael Palin's great-grandfather, is of course humorous, but also teaches a valuable lesson. The script is fantastic, the camera work is beautiful, the acting is superb, and the story, while entertaining, is also quite deep. A must-see for anyone looking for a good film.

Remembering watching American Friends, this is the first time I see Michael Palin at a more serious role. I completely enjoy watching this film. Palin plays an Oxford professor who falls for an American woman (Connie Booth) and her daughter (Trini Alvarado). A wonderful acted film and the scenery is breathtaking to watch. Well worth the effort to see.

Set about one hundred years ago, in Europe and England, this tale of repressed love initially feels like a re-working of 'A Room with a View', with the list of who fell for whom slightly re-arranged. But its portrait of Victorian England seems deliberately exaggerated: a woman can't speak to a college fellow without ruining his reputation, it seems, or talk to a man after dark without being arrested as a whore. Yet there's a charm here that grows on you, in spite of its obviousness. What is perhaps a shame is the missed opportunity presented by the fact that there hero's opponent (in a college election) is an advocate of evolution, which by implication the hero opposes: but the film does not force its favourite to defend his creed. I liked odd bits of casting: Alfred Molina playing sexy, for example, and Roger Lloyd-Peck (Trigger in 'Only Fools and Horses') playing posh. But the script itself, though cute, could have done with some of the same originality.

The "child mentality" within each one of us clings to tradition. If you can remember a happy childhood, you are probably recalling a time when you instinctively distrusted change - because "change" might mean a "change for the worse". By contrast, in those teenage years you welcomed change (it's something to do with hormones). Will this colourless nineteenth century academic Francis Ashby (Michael Palin) escape from the "grown-up childhood" of suffocating university tradition - including celibacy for most of the faculty (they're called "fellows")? The auspices are not encouraging. Everyone in the system, including the Rev Ashby (yes, he's entitled to become an Anglican vicar, if he should fail as a "don") - they're all so self-satisfied. Nothing needs to change, because everything is perfect the way it is. You begin to wonder: How did this hidebound institution survive into the twentieth century? Why is the name "Oxford" still synonymous with the highest standard of intellectual achievement? When did they stop thinking that the study of ancient Greek and Latin was the be-all and end-all? The answer is that Oxford did change, but slowly and reluctantly. In 2004 New Zealander John Hood was appointed CEO (correct title: "Vice-Chancellor") of the University, with a clear brief: the whole place was badly in need of another shake-up. The details are in Wikipedia. Hood got quite a lot of "reforming" done, but after three years of hammering away at entrenched opposition and obstruction, he'd had enough - he wouldn't be seeking a renewal of his 5-year contract.

Much of the energy in the movie "American Friends" went into securing its accuracy and authenticity, almost as a sociohistorical study; so any viewer given to impatience might wonder if this isn't some sort of documentary - enlivened with a modest story line. If you never went to Harvard, you might wonder what a premium university looks like - inside. Thanks to WGBH television, we can watch Professor Michael Sandel lecturing on political ethics to a large auditorium full of very sharp young minds (they're all supposed to have read the challenging course texts). So what was uni like 150 years ago? - it was different! The movie is a test of your imagination as a viewer - can you think your way back into this artificial world of fuddy-duddy pedagogical privilege, a world that did actually exist? There's humour, but it mainly consists of the dry wit and in-jokes of a community of cleverness, cut off from the crudities of the "real world".

The women (who are after all the eponymous "American Friends") are underutilised. Connie Booth ("Caroline Hartley") manages to engage in some dialogue, but the lovely Trini Alvarado ("Elinor") is given very little to do (except model Victorian frocks). Apart from perving at a distant male bather through binoculars, the most interesting thing she does in the movie is to fall into a lake, revealing a glimpse of ankles that are otherwise concealed under all those skirts and petticoats. But isn't all this authentic? - yes it is. A young lady was supposed to be decorously genteel - yes I know! But it takes a mental effort to realise that this code of female passivity was an essential aspect of an era that also featured Florence Nightingale, Harriet Beecher Stowe, George Eliot, Ada Augusta King, Annie Besant and Victoria Woodhull.

Enter the villain. The villain is (of course) change, reform, progress - symbolised by "Oliver Syme", a role nicely understated by Alfred Molina. It's no surprise that Syme might have been considered by your typical puritan Victorian as a "bit of a bounder" - not entirely reliable in his relations with the fairer sex. Just like Ashby and the other college tutors, Syme is a "fellow" - required to remain a celibate bachelor, presumably for the rest of his life. The elderly college President is on his last legs, and Syme is Ashby's main rival in the forthcoming election for a new President. But will a whiff of scandal discredit either of these candidates? Ashby met Caroline and Elinor when he was on holiday in Switzerland. Now they come to visit him in Oxford. But surely it's all completely innocent! Ashby is rather taken by these ladies, but which one does he have the stronger feelings for? And which one has the stronger feelings for him? Nineteenth century decorum enables the movie to keep us guessing - or at least it tries to. And which impulse will win in the end? - Ashby's ambition to become college President, or these unfamiliar stirrings of the heart? Meanwhile they're putting on an amateur production of "King Lear" - which doesn't seem to have much to do with the main plot. One of the people that Ashby met in Switzerland was an Oxford physician, Dr Weeks (Alun Armstrong). Weeks is trying to ingratiate himself with Ashby because he wants to get his son into the college. If the young chap is not up to it (the oral entrance exam requires the memorisation of a hefty chunk of Latin), will Ashby, as chairman of the entrance panel, turn Dr Weeks into a dangerous enemy? The bottom line: You'll enjoy this movie? It depends. If you prefer a leisurely 10-part TV adaptation of a Dickens novel to an overcooked two-hour movie version, then "American Friends" is probably for you. But you'll need to be paying attention. Things are happening even when nothing appears to be happening. I liked it.