El rey del erotismo

Paul Raymond was fascinating figure, being the richest man in Britain, making his fortune from exclusive men's clubs, publishing softcore pornography and having a massive property portfolio. He based his reputation on controversy, using notoriety to get more attention which results with him getting more sells. But he had a troubled relationship with the women of his life, his wife, his lover and his daughter.

Steve Coogan plays Raymond, a Liverpoolian lad who starred out as entertainer but quickly moved to working behind the scenes and starring to run exclusive men's clubs with his wife Jean (Anna Friel). During his rise he makes a fortune, stretching the bounds of public decency when he moves to theatre and publishing. During his rise he forms a relationship with Amber (Tamsin Egerton) who becomes Fiona Richmond, a famous British sex symbol, leading to him having the largest divorce settlement in British legal history and stay close with his daughter Debbie (Imogen Poots) who he sees has his heir apparent but has a massive drug addiction.

As the subject for a bio-pic Paul Raymond for both his business achievements and his personal life: but The Look of Love stretches itself too thin, not knowing where to focus and therefore making for a shallow experience. The Look of Love was a film that tried to fit too much and we end up getting scenes and elements of Raymond's live going by too fast or come out of nowhere, such as Raymond meeting his illegitimate son. It felt like the film was gutted in the editing room with how it only briefly on many different aspects such as the controversies, his rise in business and a sex scandal just to name a few.

The Look of Love was written by Matt Greenhalgh who has written two excellent bio-pics, Control and Nowhere Boy. The strength of those films are they were both were very focused on a specific area of their character's lives, John Lennon and his relationship with his mother and Ian Curtis' epilepsy and depression. The Look of Love has a different approach of looking at a much larger time period and look at many different aspects of Raymond's life. It can be argued that the films main focus is on his relationships with women and by the end the main focus is his relationship with his daughter.

Despite The Look of Love has a comedy cast the film is a very serious tone and performances. Coogan does give a very good dramatic performance and it good to see him taking different roles. He does have some witty lines but on the whole it was a serious role. It was actually surprising that the audience laughed during a scene which was very serious when Raymond ends up having to make a line of cocaine for his daughter when she was giving birth. Egerton, Poots , Friel and Chris Addison too were solid in their roles, but Davad Williams' role was extremely minor that it felt pointless to the point where his role seemed like it was mostly cut and people like Stephen Fry and Dara O Briain were camoes.

Director Michael Winterbottom does inject a lot of period detail to the film and there are some stylist moments when he does montages. There is a different look to each period, the 50/60s being shot in the black and white, his rise in the 70s being quite bright and need the end having more gritty cinematography. But like his previous film that I saw, Trinsha, it has a paradox of feeling both too short and too long for both skipping over elements and yet having a slow pace. One moment I enjoyed was a quick 30 second scene done in one take as Jean confronts Amber/Fiona with the camera following her.

On the whole The Look of Look is a very well acted film which is its greatest strength, but does not know where to turn which part of its subject matter it should examine.

I didn't know what to expect from The Look of Love. I like Steve Coogan so gave it a shot. In my opinion it's well worth a watch.

The film is a biopic about Paul Raymond played fantastically by Steve Coogan. For those unfamiliar, like I was before seeing TLOL, Paul Raymond was an entrepreneur who owned a lot of property and strip clubs in London and was at one point Britain's richest man. It's amazing how such a rich guy can go so unheard of, with people my age anyway, yet have such a big empire in London just years ago. S'pose they're not going to teach you about the strip clubs and nudey plays in second year history at school. It made for some really interesting watching.

And not because of the more or less constant boobs in case that's where your mind immediately went there. There is admittedly more graphic nudity in this film than I've ever seen in a film ever but because there is so much of it you kind of get used to it. The novelty of 'tee hee, boobies' fades away pretty quick to make way for a pretty fascinating life story.

My journalism lecturer always said there's nothing more interesting than writing about a famous person 'on the slide' out of fame and power and there's certainly a lot of 'sliding'here. He lives such an extravagant lifestyle with the drugs and ever changing woman you know it'll all catch up with him some day. The whole second half that looks at the unusual relationship between him and his spoilt daughter is pretty captivating. To give you a taste of what their relationship is like, there's a scene where Paul catches his daughter snorting coke. Instead of telling her off and getting angry he insists she mustn't just buy her drugs off the street and to only do the very best. It's a look into a life of excess and irresponsibility which makes for an intriguing watch.

There are a lot of British actors , mostly comedians, in the film.There's actually so many big British names it's almost distracting. There's Coogan obviously who naturally steals the show. But then there's cameos from Stephen Fry, Simon Bird, David Walliams, Matt Lucas, Dara O'Briain - the list goes on. All do a good job, even if some are only in it for a matter of seconds, but celebrities like Dara O'Briain don't really come across as fully fledged characters. It just takes you out the film for a few seconds and makes your brain announce 'oh look, it's him from Mock The Week'.

I don't like to talk about cinematography too much as I'm a complete novice but I could tell it's good here. Parts where they talk about Paul Raymond's men-only magazine feel like you're actually flicking through a 70s style dirty mag. The fashion of the time is very prominent with bright zig-zagging colours in his clubs and houses sucking you into the era nicely.

It might not be for everyone is a possible problem- 3 people walked out of our screen halfway through due to what I assume was it's increasing amount of graphic porn scenes. Similarly big action, life changing drama fans may feel a little underwhelmed. If you show a bit of interest and follow the relationship between Raymond and his daughter however you'll find this film to be a surprising little gem.

Charming, witty, intelligent. Had to have it all, but at what cost?

One is almost tempted to pronounce Paul Raymond's story as predictable. Rags to riches story, got corrupted and suffered the consequences. Yet there is something different about Paul Raymond, who came to London from Liverpool with nothing and reached the very top.

By different I don't mean just the fact that he was probably the first entrepreneur to acquire wealth almost exclusively from the "adult entertainment" industry but he founded it since his peak coincided with the beginning of secularisation of Britain and he introduced a very daring sort of entertainment in a highly puritanical society. Being spirited as he were, neither the criticisms or the bad press affected his stamina; he just marched on conquering bigger heights.

With the above in mind, it does not become too challenging to picture an audacious, notorious individual. Or so Steve Cogan aimed to have us believe. I could not envisage an actor better suited for the part. Ultra cool and a charmer, Steve Coogan was Paul Raymond. Mr Raymond was apparently so charming that his shared his extramarital bravados with his wife and for the 1950's (or so) this is spectacular.

The movie places us inside his life and we follow his ups and downs, although we soon become aware that he is a man in mourning. Perhaps a side effect of the poverty he came from, his no limits lifestyle and the way he indulged it to his beloved daughter obviously must have played a part.

It might go down as just another bio of a sale made man, but this film had an added dose of personality that undoubtedly mirrored its central character and the flamboyance he exhumed.

One of the better recent British films.

Michael Winterbottom is reunited with Steve Coogan in this watchable tale of one time richest man in Britain, porn and property entrepreneur Paul Raymond. Winterbottom elects to tell the story through the eyes of Raymond as he watches a video tape of a documentary he made with his daughter.

Coogan puts in a well rounded performance playing Raymond (it would have been easy to make the character either too likable, too bolshy or too obnoxious, credit to Coogan for getting the balance just right) from his early days when he first opened a members only strip club in SoHo to his later years after the death of his daughter Debbie - Imogen Poots. Raymond dotes on her and its their relationship which is central to the storytelling. He is portrayed as more or less disowning his other children; an uncomfortable scene to view is the visit and dinner he shares with his son from an early relationship. Anna Friel is superb as his first wife and mother of their three children Jean, who tolerates Raymond's countless affairs/one night stands. He explains at one point that its only natural for him to be having sex with all the beautiful women who work for him, else what sort of a man would he be. To throw a spanner in the works along comes Amber -Tamsin Egerton with whom Raymond falls in love with and leaves Jean for after she auditions for him. We follow Raymond and Amber as their relationship develops, no need this time for illicit liaisons for Raymond as Amber is partial to a bit of three in a bed. At this time Raymond takes the advice of and employs Tony Power to launch the naughty magazine (and extremely lucrative) side of his business. Power a playboy type coke addict is played; in a great piece of casting by stand up comic and panel show regular Chris Addison. Look out for bit parts from other Brit comedy stars including David Williams as a vicar.

This is a well scripted, acted and directed film as you'd expect from Winterbottom, which left me wanting to know more about Raymond. It moves along at a good pace and manages to offer both light and shade within the plot, as well as evoking the various decades featured with fine detail. Well worth the entry fee and bus fare.

Michael Winterbottom is one of my favourite directors. He makes interesting films, they may not always be the most commercial, and The Look Of Love, will I suspect have a wider appeal than say Welcome To Sarayevo but his films are always interesting and engaging, so long may he continue to make them.

Suffice to say the plot is a rags to riches tail, followed by a fall from grace, what makes this story different is that people who follow such a path don't always drag their children with them, here unfortunately that was the case. A cautious tale of morality the film spans several decades following the life of Porn Baron Paul Raymond, who went on to own Men Only and a string of other magazines, shops and clubs in Soho. I actually met him and his daughter once, though I don't think I knew who they were at the time.

Raymond (Played with appropriate gusto and restrained measure by Steve Coogan, at his best) and his daughter (Imogen Poots, outstanding) were ultimately damaging for each other as shown her. Yes Raymond wasn't the best father he could have been, but once adult his daughter Debbie was an equally bad influence on him. Coke is king in this story, and I am not talking about the type from a can that comes in red. As they both struggle with their own addictions, their worlds clash and full out of control.

While Raymond, may have been to many simply a shrewd businessman and not all that likable, Winterbottom and Coogan do well her to give him a balanced portrayal - Clearly a doting father and a generous man to those around him who were his friends Raymond is at least seen as human, though the cold and callous way in which in dealt with his estranged son was awful and brought home difficult memories for me. This is not just a tale about a man who made his fortune in erotica and porn. It's story of a grieving father who failed to heed the warning signs he was given and steer his daughter back on the right path, and ultimately paid the price.

James Lance plays Raymond's long time lawyer friend in a rather two dimensional role and does well to put meat on the bone and other appearances from a number of comic and acting talents from the UK fill out every role possible.

Production design here is first rate, with the Soho of the 1970s and 1980s which (the latter) I remember all too well recreated superbly and the lavish flat of Raymonds can well be believed, designed as he loves to tell all who will listen by Ringo Star.

Like many who rise to the top, Raymond was ultimately a tortured soul, who found it impossible to stay in one relationship and tragically lost the people he loved the most. It is not surprising that he became a recluse and died very much alone.

Still despite the tragedy in his life, you cannot say he didn't live it to the full.

A very enjoyable two hours of my time and a great role for Coogan. Adwards surely here must go though, to Imogen Poots, her performance is pitch perfect as the rich kid who was not immune to her own insecurities and struggled to find happiness. Hopefully they are now both united again in a better place.