Muerte a la media noche

Do you like DOWNTON ABBEY? Do you like Agatha Christie Murder Mysteries? Do you like the 1970's British television series UPSTAIRS DOWNSTAIRS? If your answer to any of these questions is yes, then do I have a film for you.

GOSFORD PARK is an English Murder Mystery, set in the 1920's, featuring an All Star Cast, Directed by a 7 time Oscar nominee. It received critical acclaim in the year it was released (2001), earned 7 Oscar nominations (including Best Picture) and won the Oscar for Best Original Screenplay (Julian Fellowes...who would go on to create/write DOWNTON ABBEY).

Set in an English Country Manor, overseen by overbearing Lord William McCordle (Michael Gambon, the 2nd Albus Dumbledore in the Harry Potter films), GOSFORD PARK tells of the trials, tribulations, loves and death (yes, there's a murder) of a host of characters both Upstairs (the wealthy) and Downstairs (the servants).

And what a cast it is! Kristin Scott Thomas, Maggie Smith, Charles Dance, Jeremy Northam, Tom Hollander and Bob Balaban lead the group of the wealthy, while Helen Mirren, Alan Bates, Clive Owen, Kelly MacDonald, Eileen Atkins and Emily Watson head up the cast of servants below the stairs.

Both Maggie Smith and Helen Mirren were nominated for an Oscar for Best Supporting Actress for their work in this film (both losing to Jennifer Connelly for A BEAUTIFUL MIND).

Directed by Robert Altman (M*A*S*H, NASHVILLE), GOSFORD PARK is much of what you would expect from an Altman film...many, many people living their lives, sometimes intersecting with others, often times just going off on their own, tied together by the circumstances of being in this giant manor house on a weekend of a murder.

It is an ambitious, "Oscar bait" film that succeeds for the most part. And, if you are into the costumes, sets, Interior Design and intimate scenes of people talking, then you will be richly rewarded by this film.

I loved this film when it first came out and was anxiously looking forward to re-visiting it.

While I still liked it during this viewing, I did find the pacing to be languid and I started finding myself being frustrated by threads and character direction that just sort of petered out or ended all together with no real resolution. I know this was on purpose, for Altman would argue that this is what happens in real life, but I found this frustrating.

But this film has much, much going for it and if you haven't seen this - or haven't seen this in awhile - and are a fan of these types of films, then GOSFORD PARK will be a very rewarding 2 hours and 11 minutes of a movie going experience.

Letter Grade: B

7 stars (out of 10) and you can take that to the Bank (ofMarquis)

I just saw this movie earlier this afternoon and I have to say that I was blown away by it. Yes, it's slow. But that's kind of the point. It's a deliberate murder mystery that's not really about the murder at all. It's a deconstruction of class, and how people have to live within the rigid structure of the British Class system between the World Wars. And it's not just lower and upper classes. It's the structure within the classes themselves. Pay attention to the interweaving of the characters and their interactions and realize that it's all because of the class system, and nothing more. You know why nobody cares about the murder, because nobody, even his wife, really cared about who was murdered. Isn't that the real crime here? These characters are so full of themselves, that the death only means a slight step up on the totem pole.

Another thing that I want to say about this film, is that after having seen Black Hawk Down a couple of days ago, this movie is as much a technically visual masterpiece as the Ridley Scott film. The use of foreground and background is simply amazing. The choreography and blocking of the movement is perfect. Is it rigid? Yup. And that's the point.

It's a shame that movies like this are refered to as boring and stiff. One reviewer suggested that it would work as a thirty minute short as opposed to a nearly two and half hour long movie. That seems like a ridiculous notion to me because then all it would have been a murder mystery as opposed to what a wonderfully filmed character drama.

And hey, I didn't remember a single name either. Maybe people who have criticized this movie for that should look back and see how many movies they remember all the names of all the characters upon the first viewing. My thought is that most of the names are inconsequential anyhow.

In this exhilarating chambre piece, set in a mansion during the 1930s, Robert Altman meticulously explores the social interaction between the English aristocracy and their servants. Class distinction is demonstrated funnily between the people who live above the stairs and those who live below. It is especially the interaction between the characters, who clearly dislike one another but are forced by circumstance (due to various obligations) to practice social rituals, that provides some of the most amusing cinematic moments. It is all done with clever subtlety.

Bob Balaban and Robert Altmann story idea combined with Fellowes's eloquent writing is first rate. The dialogues are filled with wit, humour and subtle depth. The mansion itself plays a key character in the story but it is the spellbinding cinematography that functions as the mansion's eyes. The camera is constantly on the move and the viewer feels like an ignored but curious member of the crowd. Many themes are tackled in the movie but it is done quietly. The film also slowly demonstrates the disintegration of the English class system (that started around the war).

Altman has assembled a mountain of talented actors that include a bitchy Maggie Smith, a pompous Michael Gambon, an obnoxious Kristin Scott Thomas, a vulnerable Camilla Rutherford, a desperate Tom Hollander, a devil-may-care Geraldine Somerville, a knows-where-he-stands Jeremy Northam, a douchebag Bob Balaban, a horny Ryan Phillipe, a stupid Stephen Fry, a loyal Sophie Thompson, a principled Helen Mirren, an enigmatic Clive Owen, a no-nonsense Emily Watson, a not-to-be-messed-with Richard E. Grant, a pulling-it-together Derek Jacobi, a frightened Alan Bates, a grumpy Eileen Atkins and an adorable Kelly Macdonald. 'Gosford Park' has one of the best ensemble cast.

I also loved the soundtrack. It is never overdone. The jazzy tracks contribute well in setting the atmosphere and there are some wonderful songs performed by Jeremy Northam's character.

In the beginning, it is a little difficult to keep up with the names of the characters which leads to a bit of confusion but with a little bit of patience, once you're over that, it becomes easy to follow. Like a beautiful painting, once it captivates the viewers attention it immediately involves them in an alternate world. From the start, you feel like an ignored guest and at the end it's as though the host has just seen you out.

Violence, mystery, sex, and murder, Gosford Park has it all. Director Robert Altman once again takes the Hollywood formula and gives a unique twist. The story begins when aristocrats during 1932 gather at Sir William McCordle's (Michael Gambon) estate for a shooting party. The guests are wealthy people with their trusty servants. People arrive at the McCordle estate two by two and the traditions begin. The servants set up dinner for their masters and the aristocrats begin their personal routines.

The story moves on as the characters begin to establish their names and the audience learns their varying social status. The intertwining stories among the guests begin to surface and the audience begins to realize there is much more in this house than what meets the eye.

During the night one member of the elite group is killed. None of the guests seemed to be fazed by this event and are only upset by the inconvenience it sets up for their lives.

The only one troubled is Constance, Countess of Trentham's maid, Mary (Kelly McDonald). The story begins to focus on Mary, who discovers secrets among the visitors and leads the audience to solve the mystery.

The great aspect about this film is Robert Altman's abilities to bring the past to life. He pays excellent attention to detail and is able to recreate the feelings and morals during the time period. He emerges the audience into a film world filled with history and story. Throughout the film Altman visually shows the audience the contrast between social classes through his various shots, lighting techniques, and camera filters. His fluid camera movements visually portray foreshadowing and relationship among characters. These elements give the audience a complete understanding of the mood and atmosphere in the film.

I recommend this movie to anybody who has the patience to sit and focus on this excellent film. Although the beginning is appropriately slow moving and the characters names are difficult to remember, the payoff is worth the efforts. This movie is made for active film viewers and all Robert Altman fans.

This is a lovingly crafted, beautifully acted ensemble piece set in an English Country House which is superficially a murder mystery. In reality, it is damning indictment of the class system and the level of servitude expected from those at the top of the tree from those that wait upon them.

What was surprising was the level of humour that Altman brings to what is, as it unfolds, a very sad story of transgression and loss. Maggie Smith has all the funniest lines as a viscious but impoverished woman who comes to her family with begging cap in hand. Those playing characters "above stairs" all look and sound the part and effortlessly give the impression of wealth and privelege and the callousness that breeds.

Many of the "downstairs" characters drive the story and there are some wonderfully wry performances from the likes of Richard E Grant and Alan Bates. As the moral centre of the film, Kelly McDonald is excellent and is well matched by Emily Watson as Emily and Clive Owen as Parkes. Ruling the downstairs troop is Helen Mirren whose cool visage hides a seething mass of emotion. A well deserved nomination here.

Only Robert Altman could assemble a cast of this magnitude and distinction and have many of them speak no more than a few lines ! Greats of English theatre like Derek Jacobi have small but memorable roles and there is not a bad note struck from any of the predominantly English cast.

I was slightly puzzled by the character played by Ryan Phillipe (although his perforamce was fine) but felt that the intrusion of two Americans into this English mix worked well to highlight the entrenched class roles played by everyone in the house.

Whilst perhaps not his best work, this is a very good Altman film - we move in and out of conversations whilst never losing their import and the cimematography has a fluidity that few other film makers can match.

A classy piece of film-making that rewards careful attention from the viewer.