Au beau milieu de l'hiver

This is a movie that will make you see that when things look their bleakest, as in midwinter, you have to push on. The characters undergo a long journey from strange actor-folk and emerge as people who are near and dear to us at the end. They are the light at the end of the tunnel. Anyone who's been involved with a difficult stage production will identify with this movie. I loved it! "Dear Hamlet, cast thy coloured nightie off..." -D

I selected this movie from the video shelf because the title seemed consonant with my mood. My girlfriend had just dumped me, my best friend had just broken off with me, and it was raining. The realisation that it was black and white throughout seemed to be perfect. Yet the story, of a struggling actor's frantic attempts to mount a benefit showing of Hamlet to save a church, along with Branagh's comedic editing, begins as a farce, sails along with Coward-like snippets of conversation (along with the use of Coward's song "The Show Must Go On") and develops facilely and elegantly into a moving portrait of the camaraderie of an acting company without one noticing. I didn't realise I wasn't unhappy and in love with all these people until the movie was over and I was beaming quite sunnily (who needs friends and girlfriends anyway when you've got movies?). Julie Sawalha's reading of the line "Let's face it, we're all depressed" may very well have saved my life.

Cliches be damned, this is a wonderful movie, all about transformations, change, and deciding what is really important. Everyone in this movie becomes a real person, moving away from the stereotypes presented in the beginning, and the comic timing is impeccable. (Don't buy the hype that Jennifer Saunders is a star of this movie, though; she's in it for maybe five minutes. Spend your time watching Richard Sessions' magnificently funny performance instead.) Branagh's Hamlet is dull, dull, dull; Branagh's movie -about- making Hamlet is another shade of wonderful entirely.

It seems Director Kenneth Branagh has the immortal Dane on the brain. The video even comes with the trailer for Kenneth Branagh's bigscreen "Hamlet". This minor canon Bard is a tale of a motley troupe recruited by Joe (Michael Maloney subbing for Kenneth Branagh) to save an ancient church in obviously-named hamlet of Hope. Troupe features nice performances from Richard Briars (veteran of big budget "Hamlet"), Nick Farrell (same; and was Horatio to Kenneth Branagh's Laertes in 85) and mum & daughter Julia Sawalha and Jennifer Saunders (affecting a gawdawful Southern accent) to assure comic impact. The black and white lensing gives a nice indy feel, but the lovingly shot stained glass looks lacking. Joan Collins does a nice turn as Joe's agent.

Bizarrely, given its small scale, this may be Branagh's best film to date. Shorn of the over-ambition which hampered Frankenstein and Dead Again, this minor masterpiece (which almost looks made for TV) will be a joy to anyone who's ever worked in under-funded theatre (excuse the tautology).

The cast are in fine form, and the photography is suitably glowing - but the film's greatest strength lies in its witty and accurate script. Obviously born of years of painful experience, the dialogue sparkles with insight and humour. Why the hell doesn't Branagh write more of his own material? Subtly directed, cleverly structured and superbly performed, this is recommended to all Branagh followers, all theatre lovers, and all fans of grown-up British humour. 9 out of 10.

PS The connections with Branagh's own version of Hamlet are obvious, but who is Dylan Judd, who gets offered a three-film sci-fi deal? Could it be Liam Neeson or Ewan Macgregor? Answers on a postcard to Shepperton Studios...