IMDb-BEWERTUNG
5,6/10
2505
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuA young woman frets upstairs in her family's country manor on her wedding day, fearful she's about to marry the wrong man. Downstairs, her fiancé and her former lover grow increasingly anxio... Alles lesenA young woman frets upstairs in her family's country manor on her wedding day, fearful she's about to marry the wrong man. Downstairs, her fiancé and her former lover grow increasingly anxious.A young woman frets upstairs in her family's country manor on her wedding day, fearful she's about to marry the wrong man. Downstairs, her fiancé and her former lover grow increasingly anxious.
- Regie
- Drehbuch
- Hauptbesetzung
Kenneth Collard
- Whitstable
- (as Ken Collard)
Ben Greaves-Neal
- Jimmy
- (as Benjamin Greaves-Neal)
Joanna Hole
- Miss Spoon
- (as Jo Hole)
Empfohlene Bewertungen
A carefully crafted film which is at once a celebration of English eccentricity and an understated examination of how families often do everything they can to avoid saying how they really feel. Felicity Jones and Luke Treadaway play the lead protagonists brilliantly, but the scene stealer throughout is the wonderful Ellie Kendrick as the younger sister Kitty. Her naivety often reveals so much about what everyone else is really thinking but just can't bring themselves to say. And perhaps the symbolism will be lost on some, but without giving anything away tortoises and a small boy's little bombs mark the path of this film with great effect.
Ah, the British! They have their eccentricities that have been providing fodder for little films for years - from the great stories of EM Forster, Evelyn Waugh, Julian Fellowes et al to the little dramadies such as this one written by director Donald Rice with Mary Henely-Magill, CHEERFUL WEATHER FOR THE WEDDING. They come off best when the odd class-oriented families take themselves seriously, covering their narrow view of the world of civility with accents so thick and rapidly delivered that without subtitles it is difficult to follow the script! But they are enchanting, especially when delivered by a cast of superb actors who are able to enter these odd characters' psyches and make us titter while we endure their snobbishness.
This film is meticulously presented and is both a celebration of English eccentricity and an understated examination of how families often do everything they can to avoid saying how they really feel. Dolly Thatcham (Felicity Jones) is to be married to the wealthy Owen (James Norton) after a very brief engagement: Dolly delays her preparations for the ceremony by drinking rum upstairs as she has flashbacks to her real romance a summer ago with the young professor Joseph Patten (Luke Treadaway) whom Dolly has invited to the wedding (to her mother's (Elizabeth McGovern) chagrin and Joseph waits downstairs with the entire bizarre family and friends awaiting Dolly's descent to proceed to the church. The story is interrupted with all manner of subplots including the strange behavior of Dolly's younger sister Kitty (Ellie Kendrick) who provides the audience with a naïveté that reveals so much about what everyone else is really thinking but just can't bring themselves to say.
Among the entertaining eccentrics having luncheon before the wedding are the bickering married couple (Fenella Woolgar and Mackenzie Crook) attempting to stop their son young Jimmy (Ben Greaves-Neil) from setting off little bombs throughout the house, aging but silly Aunt Bella (Barbara Flynn) seducing her chauffeur (Emil Lager), the perennial old maid Miss Spoon (Joanna Hole), the day's drunk Tom (Olly Alexander) and of course the only people about whom we care - the servants (Eva Traynor, Paola Dionisotti, Sophie Stanton, Kenneth Collard. The use of flashbacks to give us insight into Dolly's dilemma of marrying for convenience instead of for love is beautifully handled by creating a golden glow touch to the sequences from the past by cinematographer John Lee and a lovely musical score by Michael Price. And in a final farewell speech Joseph manages to put everything in its rightful place. It all works well, but put on the subtitles or you'll be in the dark.
Grady Harp
This film is meticulously presented and is both a celebration of English eccentricity and an understated examination of how families often do everything they can to avoid saying how they really feel. Dolly Thatcham (Felicity Jones) is to be married to the wealthy Owen (James Norton) after a very brief engagement: Dolly delays her preparations for the ceremony by drinking rum upstairs as she has flashbacks to her real romance a summer ago with the young professor Joseph Patten (Luke Treadaway) whom Dolly has invited to the wedding (to her mother's (Elizabeth McGovern) chagrin and Joseph waits downstairs with the entire bizarre family and friends awaiting Dolly's descent to proceed to the church. The story is interrupted with all manner of subplots including the strange behavior of Dolly's younger sister Kitty (Ellie Kendrick) who provides the audience with a naïveté that reveals so much about what everyone else is really thinking but just can't bring themselves to say.
Among the entertaining eccentrics having luncheon before the wedding are the bickering married couple (Fenella Woolgar and Mackenzie Crook) attempting to stop their son young Jimmy (Ben Greaves-Neil) from setting off little bombs throughout the house, aging but silly Aunt Bella (Barbara Flynn) seducing her chauffeur (Emil Lager), the perennial old maid Miss Spoon (Joanna Hole), the day's drunk Tom (Olly Alexander) and of course the only people about whom we care - the servants (Eva Traynor, Paola Dionisotti, Sophie Stanton, Kenneth Collard. The use of flashbacks to give us insight into Dolly's dilemma of marrying for convenience instead of for love is beautifully handled by creating a golden glow touch to the sequences from the past by cinematographer John Lee and a lovely musical score by Michael Price. And in a final farewell speech Joseph manages to put everything in its rightful place. It all works well, but put on the subtitles or you'll be in the dark.
Grady Harp
I suppose, it is one of film for who the borders between I loike it- it is boring- it has not subject-I love it are more than fragil.
But it is a honest and beautiful film, remembering the universe proposed by James ivory and giving a large slice of very salted cake.
Beautiful acting, inspired cinematography, well crafted dialogues and a blind venerable servant near a special turtle, a summer romance of past and the wedding of present , fragility, joy and connected lives and absolutely fair end.
For me, was a more than pleasant surprise and its English bitterness is served in the most admirable manner , like a cup of black tea.
So, a beautiful, in profound sense, for so many motives, film. First, for the lovely honest perspective about love, duty and choices.
But it is a honest and beautiful film, remembering the universe proposed by James ivory and giving a large slice of very salted cake.
Beautiful acting, inspired cinematography, well crafted dialogues and a blind venerable servant near a special turtle, a summer romance of past and the wedding of present , fragility, joy and connected lives and absolutely fair end.
For me, was a more than pleasant surprise and its English bitterness is served in the most admirable manner , like a cup of black tea.
So, a beautiful, in profound sense, for so many motives, film. First, for the lovely honest perspective about love, duty and choices.
I'm not sure it's essential, but a love of all things English is surely an asset when approaching this movie. Peopled by a menagerie of eccentric, frustrating, and ultimately endearing characters, the movie's appeal lies in the brilliance of its script and the interest it ultimately engenders in its many protagonists.
Set in a stately country home in perhaps the 1930s, the movie covers the events of one morning and afternoon. Dolly is about to wed Owen, yet Joseph turns up the morning of the wedding. We find that there had been a whirlwind romance between Joseph and Dolly the previous summer, that Dolly's mother was against the match, and now Joseph returns at the 11th hour to perhaps intervene?
There are far too many supporting characters to mention, and they are essential to the movie's success, but the emotional focus is entirely on Dolly and Joseph. The story of their past romance is artfully narrated in a series of flashbacks (the colour palette changes each time we flash back) which interweave nicely with the events of the wedding day. The emotion between them is portrayed with sensitivity and realism; their interactions with those around them (who are mostly oblivious to what is going on) are often funny but also laced with pathos. The various zany antics that set the backdrop for this drama are hilarious in themselves, and there is a nice blend of humour and gravity to keep one attentive. The house, the gardens, the fashions are all splendid.
What the movie lacks is some greater theme or message; it's about a particular love story between a particular man and woman, but beyond that, one doesn't leave with anything more substantial. Nonetheless, it's a pleasure to watch.
If you like English culture, if you enjoy scintillating, witty repartee, then "Cheerful Weather" is sure to please. If you find the English upper crust snobby and boring, well, you might be better off staying away.
Set in a stately country home in perhaps the 1930s, the movie covers the events of one morning and afternoon. Dolly is about to wed Owen, yet Joseph turns up the morning of the wedding. We find that there had been a whirlwind romance between Joseph and Dolly the previous summer, that Dolly's mother was against the match, and now Joseph returns at the 11th hour to perhaps intervene?
There are far too many supporting characters to mention, and they are essential to the movie's success, but the emotional focus is entirely on Dolly and Joseph. The story of their past romance is artfully narrated in a series of flashbacks (the colour palette changes each time we flash back) which interweave nicely with the events of the wedding day. The emotion between them is portrayed with sensitivity and realism; their interactions with those around them (who are mostly oblivious to what is going on) are often funny but also laced with pathos. The various zany antics that set the backdrop for this drama are hilarious in themselves, and there is a nice blend of humour and gravity to keep one attentive. The house, the gardens, the fashions are all splendid.
What the movie lacks is some greater theme or message; it's about a particular love story between a particular man and woman, but beyond that, one doesn't leave with anything more substantial. Nonetheless, it's a pleasure to watch.
If you like English culture, if you enjoy scintillating, witty repartee, then "Cheerful Weather" is sure to please. If you find the English upper crust snobby and boring, well, you might be better off staying away.
Just before I sat down to watch this movie I had painted a floor. Watching that dry would have been more interesting. I continued to watch as an exercise in masochism.
Maybe because I find the lead actress very unpleasant. She drank way to much and pretty much continuously. Never did really get who all the other people were, yes, a sister and a mother. Was the vicar the father? An annoying missionary guest. Assorted friends? Relatives?
My two stars go to the person(s) responsible for the selection of the house, the costumer, the overall period look which is achieved very nicely, including hairdos.
The viewer certainly understands the main points of the story. They don't have to be re-told over and over again, in flashbacks and from different characters. If these were real people I would not wish any of them well.
Maybe because I find the lead actress very unpleasant. She drank way to much and pretty much continuously. Never did really get who all the other people were, yes, a sister and a mother. Was the vicar the father? An annoying missionary guest. Assorted friends? Relatives?
My two stars go to the person(s) responsible for the selection of the house, the costumer, the overall period look which is achieved very nicely, including hairdos.
The viewer certainly understands the main points of the story. They don't have to be re-told over and over again, in flashbacks and from different characters. If these were real people I would not wish any of them well.
Wusstest du schon
- WissenswertesThroughout the movie, Joseph (Luke Treadaway) is frequently asked about the difference between two identical twins who were invited for the wedding ceremony (he even mocks them at some point). In real-life, Luke is the identical twin of Harry Treadaway, who is also an actor.
- Zitate
Dolly Thatcham: Do you feel less happy if you know you are happy?
- Crazy CreditsThe opening credits play over a close up of an old fashioned printing press in action, which eventually produces the invitations to the wedding which is the subject and the setting of the film.
- VerbindungenFeatured in Cheerful Weather for the Wedding: Behind the Scenes (2013)
- SoundtracksThe Moon And Seven Stars
Performed by Panjandrum
Guitar - Gordon Potts, Fiddle - Diane Moody, Fiddle/Recorder - MJ Searly, Melodeon - Ian Dedic
Top-Auswahl
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- How long is Cheerful Weather for the Wedding?Powered by Alexa
Details
- Erscheinungsdatum
- Herkunftsland
- Offizielle Standorte
- Sprachen
- Auch bekannt als
- Tiệc Cưới Vui Vẻ
- Drehorte
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Bruttoertrag in den USA und Kanada
- 2.651 $
- Eröffnungswochenende in den USA und in Kanada
- 727 $
- 9. Dez. 2012
- Weltweiter Bruttoertrag
- 170.922 $
- Laufzeit1 Stunde 29 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 2.35 : 1
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By what name was Cheerful Weather for the Wedding (2012) officially released in India in English?
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