Dean Spanley

Dean Spanley is delightful, warm, and deeply affecting. It deals with timeless topics, while recreating a rich bygone atmosphere. To hear the repartee of the four principles is priceless. The language is sparklingly literate, precise and urbane, and the choice of words and turns of phrase actually sensual to those who have a love of companionable conversation.

The incomparable Peter O'Toole at the peak of his mastery, Jeremy Northam, Sam Neill, and Bryan Brown weave an immersive presentation of pure acting talent such as is seldom seen. And it is set up by top-notch writing, exquisite sets and beautiful cinematography and costuming.

Mr. O'Toole can match the very best acting in cinematic history using only his eyes

Mr. Fisk, Jr. (Jeremy Northam) visits his cantankerous father, Fisk Sr. (Peter O'Toole) every Thursday for the noon meal. The long-standing cook and housekeeper, Mrs. Brimley (Judy Parfitt) always makes the same "hotpot" meal, for that's what Sr. demands. Knowing his father is in a rut and becoming more ornery every day, younger Fisk suggests that the two of them go hear a lecture on reincarnation. Most reluctantly, older Fisk agrees to go. Once there, another attendee asks the man if people can appear again as an animal or visa versa. The speaker says yes. Meanwhile, younger Fisk has gotten to know a gentleman named Dean Spanley (Sam Neill) who was at the "club" and likes an unusual drink, Tokai. Wanting to know the man better, Fisk Jr. asks a dealer (Bryan Brown) for the beverage, which turns out to be very expensive. But, its seems to be the only way to get a meeting with Spanley! Over glasses of the drink, younger Fisk is startled to hear an account of Dean's that he was once a DOG and what happened in his previous life! Well, well. Since the tale is spellbinding, Fisk listens. Will more earth shaking secrets be revealed? You bet! This is a very sophisticated film, told mostly in dialogue, and it focuses primarily on the male characters. Anglophiles will like it or film goers with refined tastes, as there is very little action. All of the acting is terrific, as are the beautiful sets and costumes. Script and direction are up to snuff, too. Therefore, if you admire the cast, as I do, or like the unusual offerings in the cinematic arena, go fetch dear Dean.

I urge viewers not to read any summary of this story that reveals details of the plot or its premises. I will only say that the story is mystical and quixotic. Some will like it, some will not, but as you can see on these pages, this film has many admirers.

The story starts with a narration by Young Fisk, who is visiting the elder Fisk at his home. Their relationship is strained and combative. They decide to spend the day together in a rather unusual way. It is the beginning of a journey by Young Fisk that will culminate in some discoveries and some wondrous understandings.

Set circa 1910, as the motorcar becomes a symbol for the declining past and the nascent future, one of the best elements of this film, in my opinion, is its richness of tone. Scenes are shot lovingly, with an emphasis on art, and its beauty, as it occurs in architecture, painting, literature, language, music, and the enrichment of the senses.

"Dean Spanley" reminds one of the joys of the well-written tale, where language enthralls. As a film, it celebrates the well-read line, the poignancy in pauses, the synergy between image and music.

And it gives us some performances to be cherished. Though no performance is dissonant in this film, I particularly enjoyed the performances of Peter O'Toole as the elder Fisk and Sam Neill as Dean Spanley. Do yourself a favor and bask in their prodigiousness.

The puzzle is why this film was ever made in the first place, though I hasten to add that I don't mean that as any kind of criticism. It is a gentle, rather whimsical and moving piece which I can't think would find a mass audience anywhere much, though that, too, is not meant as criticism.

To put it all in perspective: thank goodness there are some people around in the film world prepared to produce films of this calibre for apparently no other reason than that they like films and like making good ones. It is a British and New Zealand co-production which astutely avoids all the pitfalls many smaller scale British films fall into. Its lightness of touch is admirable where all too often Brit films are just a tad heavy-handed and suffer as a result. There is only a small cast – just five main characters – and the story itself is superficially slight, yet it packs a punch which touches true emotion rather than mere sentimental whimsy. It would be unfair to pick out any particular performance because none stands out above the others – they are all excellent, as is the gently witty screenplay.

Its evocation of Edwardian Britain is all the better for being understated – this is no 'period piece' and thus avoids the horrors just beneath the surface which many a 'period piece' singularly fails to avoid. My advice to everyone is to watch this and savour everything about it. If you like well-made films, you will probably love this. I shan't bother to provide a synopsis because that would be thoroughly misleading. There's far more to this than meets the eye.

This film was primarily funded by the New Zealand Film Trust (or something like that). Sam Neill is like you have never seen him before (quite frankly I didn't think he had it in him) and Peter O'Toole is simply marvelous. Proving that age does not diminish true talent. The first 1/2 hour seems to drag due to character development, but the final 45 minutes is about the best movies have to offer. If your heart doesn't wrench and tears don't form, then you're simply not human. This is one of the top 5 films I have ever seen and the standard that I will forever hold "art" movies against. You MUST watch this movie. It is one of the finest ever made and one that I will always remember. For a generation that grew up on Tarantino films and the SAW series this will teach them what film-making is all about.