Venus

Michell tells an unconventional story of an aged actor who's fallen for a very young lady. What makes this story different from other old v/s young love stories is that the relationship is very sexual in nature. Maurice clearly sees Jessie as a very sexual being and he would definitely go far enough if she had allowed it. Yet, Jessie herself isn't completely innocent. She is completely aware of his feelings and takes advantage of it. While this part of their relationship is uncomfortable to watch, there is another side to it. Maurice clearly is infatuated with this girl but he never forces himself on her. On the one hand his despair is understandable as he's a man in the last stage of his life. He's maintained a friendly relationship with his estranged wife but his children won't have anything to do with him. He chats with his friends at a café. The only roles offered to him are those of corpses. While he struggles getting up from bed to live his miserably lonely life, it is the entrance of Jessie that changes that. She's young. She's attractive. She's vibrant (though a little tempered). The young Jessie isn't evil either. She too enjoys Maurice's company. Perhaps her feelings towards him were part sympathy part affection. Though both characters are initially portrayed in an unsympathetic way, they manage to build a bridge that connects to the viewer.

Hanif Kureishi is known for telling stories about unconventional relationships and here too he does a good job. It is well paced. Some might find it slow but I think it works for this kind of film. The dialogues are solid, both funny, poetic and get you to say 'hmm!'. Also the comedic situations are well executed like the one where Maurice and Jessie go shopping and Maurice only offers to pay 20. The cinematography and score do a good job of demonstrating the loneliness, dullness and somewhat carelessness of London. Meanwhile Corinne Bailey Rae's soothing voice highlight the gentle songs.

Peter O'Toole delivers a marvelous performance. I'm glad to see that actors like him and Vanessa Redgrave do not shy away from playing such roles of elderly people. He is charming, kind, passionate (with Venus), somewhat appalling and sympathetic. Redgrave has two scenes of which she does nothing short of greatness. Confidant newcomer Jodie Whitaker more than just holding her own to veteran O'Toole. She adds a freshness and displays Jessie's growth with great confidence. Leslie Phillips too does a fine job as Maurice's friend. He's particularly funny in the scenes where he expresses his dislike for Jessie.

'Venus' is a refreshing, sincere little film sans pretense. It's got wonderful performances, intriguing characters, solid dialogue and an unusual story.

I strongly suspect that Peter O'Toole, in his new film "Venus," plays a character not far removed from himself. This may prevent his performance from joining the ranks of some of his greatest cinematic achievements, since it probably didn't provide as much of a challenge to him, but that's not to say that he isn't marvelous in this film, and shouldn't be commended for taking on this brave and unflattering role so late in his career.

In "Venus," O'Toole plays Maurice, a famous stage and screen actor pushing 90, who's struggling mightily to prevent his days from slipping into the routine loneliness of old age. He's on friendly terms with his wife (Vanessa Redgrave, who has a couple of wonderful moments in this film), who he walked out on years ago, but never sees his children, who haven't forgiven their father for deserting them. The time he doesn't spend at doctors' offices or willing himself to get out of bed every morning he spends with his cantankerous best friend, a fellow actor, reminiscing about their best roles.

When the friend takes in his niece's sullen daughter as a live-in assistant, O'Toole immediately finds himself in love with her, or at least in love with the idea of her, and the two strike up an awkward, and at times most uncomfortable relationship of sorts.

What distinguishes "Venus" from other stories like it is the nature of the central relationship. This is no sweet, chaste friendship a la "Lost in Translation." For one, the age difference here is much greater. But beyond that, the relationship between Maurice and his Venus is distinctly sexual. It's clear that Maurice would go as far as Venus will allow, which isn't far, but is far enough to have made me squirm a bit in my seat at moments. For her part, Venus uses her beauty, and her knowledge of Maurice's desire for her, to her advantage, receiving gifts in return for her "favors." The film establishes both Maurice and Venus as somewhat unsympathetic characters, which prevents the film from becoming too maudlin. But there's also a great reserve of kindness in both of them, and each enables that to come out in the other. In the end, each of these characters is a bit better off for having known the other.

"Venus" is slow moving, and it's not a profound film. But it is refreshingly free of pretense, and it provides one with the chance to see Peter O'Toole, one of my favorite actors, showing the world that he's still got it after all these years.

Grade: B+

There is poetry to Peter O'Toole's performance in "Venus"; it is so effortless, so seamless, so beyond "acting" that it tempts the rest of us to give up and hand in our union cards. No actor in memory has so finely embraced with voice Shakespeare's "Shall I compare thee to a summers day...". This is as fine a vintage as you'll ever find! Perfection. Roger Michell delivers a superb cast all around. Jodie Whitaker hands in a lovely nuanced performance, especially for a newcomer. Together with O'Toole, Leslie Phillips and Richard Griffiths present a marvelous portrait of aging actors. Michell deftly makes us laugh at some things simply because it hurts too much to weep. This is such a beautifully layered and rich film one may want to revisit it time and again.

This is one of those movies that grows on you once the credits are done. Quickly paced, sharply written and deftly acted, Venus is a movie that unfolds so quickly that one is immersed in the action from the very start.

The background is actors living off small pensions and acting jobs in working class London. The cinematography catches the dullness of the surroundings and one is easily transported into this world of sameness, peppered by occasional wonderful lapses back into the magic of acting and well written lines. Their world, and also the girl's world is turned upside down by meeting one another.

O'Toole is wonderful as Maurice, the ex-raconteur who proves that love, lust, flirtation and marvel are attributes that never go away with age. It's a delight to see these feelings rekindled in the old man, and O'Toole is the master of bringing zest and poignancy to the screen. Just going to see him quote Shakespeare is worth it alone. The setting in which he does it is unexpected and moving.

Jodie Whitaker is indeed a fresh new face. Without airs, this actress expertly matches wits with O'Toole. She conveys the right amount of grittiness, insecurity and bravado as a teenage girl thrust into the big city without a concrete plan would. The growth in her character takes place when an event that she has caused takes place, and she must either own up to what she has done, or forever be stuck in the life as a yob's girlfriend.

Vanessa Redgrave and all the others round out an honest cast that isn't afraid to let "Hollywood" see their age. This is acting "sans botox," and what a delight it is to see. This is smart writing, good thinking, and gutsy in a day when actors are expected to look a certain way even in old age. It's a delight, and trounces all stereotypes about aging.

There are lines here which are utterly breathtaking in their insight and playfulness. The writer is to be applauded for not falling back on the "senior citizen" stereotype. O'Toole's character swoons, he drinks in the quixotic experience of remembering the beauty of a naked body, of kissing a woman's neck, of the entire and total experience of falling in love, of pleasure, and of jealousy and of heartbreak as well. Young screenwriters should take note: write against type and delve into the real human experience, the one that everyone else tries to conveniently box away.

Why an 8, and not a 10? There were some choppy bits of editing. I would have liked to see even more growth and recognition in Maurice. Just a bit more from the writers would've brought it all the way home with the same aplomb given by O'Toole. But overall, a movie worth seeing, a performance worth rewarding. Bravo! Well done. Applause for Mr. O'Toole.

Peter O'Toole is considered by many to be the "best actor in the world". And he has been for many decades. Those aren't my words but the words of Anthony Hopkins. Russell Crowe and Martin Scorsese agree. And he is fantastic in this small country independent film. I have seen all of his films and this one along with The Manor ranks among the best. In both, he exhibits the phenomenal wit and timing of a master and knows more about delivering a punchline than anyone I have ever seen. And just listening to his booming voice always keeps everyone honest. In both this film and THE MANOR in which he plays Greta Scacchi's husband, he is a magnet for your attention and your eyes. He totally dominates.

WoolyMonkey