Lawless Heart

In the funeral of Stuart, his sister Judy (Ellie Haddington) defends to her husband Dan (Bill Nighy) that his money should be delivered to his mate, the gay restaurateur Nick (Tom Hollander) since there is no will but that should be the wish if his brother-in-law. The faithful Dan meets the Frenchwoman Corrine (Clémentine Célarié) and he has the feeling that part of his life was lost. Meanwhile the grieving Nick hosts Stuart's best friend, the former hippie Tim (Douglas Henshall) at home. Tim has a crush on the worker of a fashion store Leah (Josephine Butler), who is heartbroken and healing from her last love affair, and he decides to give a party for her at Nick's place. After the party, Dan never meets Corrine in respect to his wife and but the drunken Michelle (Sally Hurst) gives a BJ on him; Nick befriends Charlie (Sukie Smith) that falls in love for him; and Tim finds that Leah's secret love is his stepbrother David (Stuart Laing).

After a complicated beginning due to the great number of characters, "Lawless Heart" becomes interesting with the entwined lives of several lead characters and the same story is retold centered in Dan, Nick and Tim and filling the blanks. The less interesting segment is the ironical situation of Dan, where the British dark humor prevails in a questionable sense of fidelity. In the end, the screenplay with open end works reasonably well developing the realistic characters and situations and the result is a good low-budget movie supported by great performances. My vote is six.

Titile (Brazil): "Coração Sem Lei" ("Lawless Heart")

This movie tells the same story from the viewpoint of three different people. The stories are presented in sequence and cover the same time span - the three characters are together in the first scene as well as several days later in the final scene. The event that brings them together in the first scene is the funeral reception for a man who was the brother-in-law of Dan (Bill Nighy), the lover of Nick (Tom Hollander), and the cousin and friend of Tim (Douglas Henshall). The plot structure is clever and works well. One of the challenges in telling a story in this manner that is effectively dealt with is to strike a balance in how much the characters interact - too little and the movie becomes three separate stories; too much and all the characters, as well as the viewers, know the whole story and there are no surprises. This plot structure is distinctly different from those of "Rashomon," where each character relates the same story with personal embellishments, or "Pulp Fiction," where the stories are only loosely intersecting and the time sequencing is not linear, or movies like "Lantana," which effectively utilizes flashbacks and interactions in real time among an ensemble of unrelated characters.

With each succeeding scene in each story we fill in pieces of the puzzle. The curious way people behave in one story is understood in a later story. For example, when Tim throws a party and invites a woman with whom he has just been enamored, she shows up only to hide behind a wall and ultimately escape the party by climbing over a fence. Tim is hard pressed to interpret this peculiar behavior and Dan, who witnesses the escape from outside the house, is mystified. How odd we think, but later we learn that a recent ex-lover of hers is there and she does not want an encounter with him.

We are made to think about how each of us sees only a small piece of the big picture. Each personal human encounter is the intersection of two worlds, the complex histories of which are fully known only by the individuals. People behave in ways that we find difficult to comprehend, but, in almost all situations, if we were to know the personal motivations and the full story, all would be understood.

To a great extent, the dialog carries the movie. When Dan is approached by an interested woman, Corrine, at the funeral reception and she asks him if he is depressed, he says, "How would I know?"

While the movie hangs together on first viewing, I found a second viewing to be rewarding. You pick up on a lot of things that would easily be missed on first viewing, like when Corrine invites Dan to dinner while checking out at the grocery store the cashier is a woman with whom Nick becomes involved.

The acting is polished and the multitude of songs on the soundtrack seem to have been chosen with care and they augment the story. It was uncharitable not to credit the Schubert piano trio that so effectively set the mood at the beginning and the end (Trio in E flat, Op. 100 D.929).

Altogether an engaging and skillful piece of film-making.

Sensitive, atmospheric piece, which feels very French (Rohmer an obvious influence) in its treatment of life, love and loss. Beautifully shot and acted. It's a quibble, but I wish that one of three stories could have been told from the point of view of one of the three principal women. I guess the male directors/writers might have felt unsure about it, or maybe it never even occured to them to try it. Whatever the reason, the result seems to me that the women are more enigmatic than the men, less developed, more like figures than characters. Having said that, it's an excellent work, well worth seeing.

This was probably the finest film I saw last year. From its first scene, with the ever-so-English Bill Nighy, it was funny, sad and thought-provoking in equal measures. Nighy's turn as the confused, homophobic but well-meaning Dan was strong, and fully engaged our sympathies, but was trumped when we rewound and saw the same events as Nick (Tom Hollander). Hollander has a marvellous ability to show endless longing in a single eye movement - he's a remarkable actor and once again gave us a fully empathetic character. Sukie Smith, the opposite of his character, was clumsy but lovable as Charlie, and that segment felt almost self-contained.

When we rewound again to see Tim's viewpoint, I was a little disappointed. Tim had proved a horrible, selfish character, and I didn't fancy "being" him for any length of time. But Doug Henshall blew my mind in a performance that completely changed my view of his character and led to a moving and satisfying resolution.

In each of these men we are offered a different aspect of the Everyman. We learn that no-one is as they appear. Other laudable aspects are the uniformly strong supporting cast, the beautiful photography and music, but above all the little details. For example, Tim spooning sugar off the floor was genius. And in the restaurant when he makes a ring for Leah out of wire. And then the ashtray catches fire. Also, spot Corrine's dinner party in the background as Dan drives past. Look out for as many of these as possible! This is a film in which every detail is thought through, and it contributes for a cinematically enriching experience. SEE IT.

I'd been waiting for ages to see this film, ever since I read about the making of it in January 2001. It's been a long wait since the London premier in November to it's recent general release. However it was well worth the wait. I liked the way that the film told the story from three different points of view. It was interesting how sometimes when you thought there were only two people in the scene first time,eventually you saw there were actually three or four. I was moved by Tom Hollander's performance as Nick trying to come to terms with his grief. I laughed and cried with Tim, A brilliant performance by Douglas Henshall. My only criticism of the film was Tim's parents. We only see them in a few scenes, but neither of them is like him. You would expect at least one of them to enjoy a 'right old knees up', or you would expect them to be kind salt of the earth types, instead they are portrayed as cold and indifferent. A lot of film critics have described Tom as the returning prodigal son, if he had been then his parents would have had the party for him, he wouldn't have had to organize his own. That aside I loved all of the other characters and the way they were portrayed. I don't think that anyone who has lost a friend or loved one could fail to be moved by the final scene. On the whole this is a wonderful British film.