Jardinage à l'anglaise

Actually, I can't recall any scene with greenhouse naughtiness, but there is plenty of gardening and a smattering of lustiness. True story or otherwise, this is my favourite British film for a couple of years, including last year's boy in the ballet flick. It's got that expected gentleness in the tale, in spite of the prison setting, but it seems so well made that I forgave its overly romanticised telling. David Kelly, as the terminally ill serial wife killer, was quite superb. I suppose I am being too fanciful to expect him to get a Best Supporting Actor nomination next year, but he certainly deserves it. The rest of the male cast did an adequate job, whilst Helen Mirren shone as the expert gardener. Finally, I have to mention Lucy Punch, if only to say that I was disappointed her part was not as enlarged as her midriff became. 7/10. A film which interested me from start to finish.

According to the old saying there are only two sure things in life: Death and taxes; and while that's all very pithy and emboldening in a way that suggests machismo with a John Wayne swagger, it isn't entirely accurate. Because if there is one constant in life, it's the fact that everyone makes mistakes, and moreover, that if given the chance most will at least attempt to set to rights whatever bitter pill has been wrought by their personal indiscretions and miscalculations, whether felony or misdemeanor. Which is precisely what writer/director Joel Hershman considers in `Greenfingers,' a comedy/drama that seeks out the good in the bad while making a statement about the redemption afforded by the proverbial `Second Chance.' Like the amazing gardens at the center of this story, and in which Hershman's metaphor can be found, this film is about the cycle of life; about death and rebirth and hope. It's a story based on actual events, told by Hershman with warm good humor and in a way that reaches out to the humanity in us all, offered for the contemplation of his audience with an eye upon a world that is in all ways a bit brighter and better.

In his youth, Colin Briggs (Clive Owen) made a mistake; and he's spent fifteen years doing hard time in prison because of it, with no indication that he'll be getting out any time soon, if ever. But the powers that be have decided he's a perfect candidate for an experimental `open prison,' program, an environment without walls that will afford even `lifers' an opportunity for parole if they can make good at it. Initially, Colin is not keen on the idea, but he has no choice in the matter. He's summarily transferred, and once in his new digs he is befriended by Fergus Wilks (David Kelly), an old man who will pay for his crimes until the end of his days, but who has a perspective on life that has a subtle effect on Colin's future. It is Fergus who gives Colin a small gift that ultimately turns his life around-- a small packet of flower seeds which Colin proceeds to plant in an unlikely place in the dead of winter with no hope that anything will ever come of it. Colin, however, is about to discover one of the mysteries of life; that in a seed-- any kind of seed planted anywhere in the world-- there is the gift and promise of life. And the following Spring presents Colin with another gift-- a surprise that is going to change his life forever.

With this film, Hershman has crafted and delivered a story rooted in a subject that is essentially `hard' in nature, but he takes a positive, gentle approach to it that makes it entirely accessible and engaging. It does, in fact, provide an eye-opening perspective to an area that many are prone to view with a closed mind. Many (Roger Ebert among them) will claim that the characters portrayed here are predictable stereotypes, which on one hand is true; but on the other hand, stereotypes are often a reflection of reality, which is decidedly the case here, and moreover, Hershman successfully delves beneath that outer skin from which the label is derived to find the uniqueness that resides at the core of each of these individuals. There are so-called `stereotypical' responses and reactions effected by some of the characters here, as well, but again, within the context of the story, they are no more than a reflection of what a like situation in real life would evoke. In the final analysis, `life' is filled with stereotypes, and what is too often deemed `predictable' is more often than not a depiction of something that would be more accurately described as `inevitable.' All of which Hershman so eloquently conveys in his film.

Though they would never admit it even to themselves, `professional' critics with one too many reviews under their substantial belts are often too jaded to appreciate the nuances of a film like this and take the easy way out, seeing only what they `choose' to see, and unfortunately it is that dismissive attitude that finds it's way into their comments; one even went so far as to say in print that what amounted to his `subjective' opinion was to be taken as the definitive view, inasmuch as he is `paid to know these things.' And it is that attitude that diminishes the credibility of the `professional' critic, and in the end often renders what they do a disservice to the filmmaker and the audience alike, which is the case in point here. And it points up the necessity of seeing and judging for yourself; do not be dissuaded from a good thing by ramblings touted as `educated' under the banner of a byline, beneath which lies a personal agenda that often supersedes any and all objectivity.

Under Hershman's steady hand the story comes to life through a number of solid performances, most notably Owen, who successfully captures the stoic resolve and acceptance of a man who has paid, and continues to pay, for the single misstep of his life. And it's that reserved countenance more than anything else that makes Owen's portrayal so convincing, that sense that he sees his glass as half full and half empty at the same time; a kind of hopeful/hopeless attitude that is entirely believable for a man in his situation.

The standout performance, however, is turned in by Helen Mirren, as Georgina Woodhouse, a kind of `Martha Stewart' of gardening in England. She lends some true blue `character' to her character and adds a bit of spunk and attitude that makes Georgina entirely believable. In a wide-brimmed hat and colorful attire that reflects the beauty of her beloved gardens, she is absolutely radiant. And when you factor in the performances of David Kelly, Warren Clarke and Natasha Little, it makes `Greenfingers' a film not only to be seen, but embraced. 8/10.

"The Full Monty" seems to have grown another sprout.

As far as I am concerned, the British can make a dozen of these a year, and I will happily see every single one of them. Sentiment in the hands of someone who will not hit you over the head with that sentiment is much welcomed. Emotions expressed on the screen are always better in small doses, and for my money, that doesn't have better representation onscreen than the aforementioned "A Full Monty", "Brassed Off", "Billy Elliot" and now "Greenfingers."

Clive Owen plays Colin Briggs, a man imprisoned for a crime he will not discuss. He thinks of himself as a prisoner and nothing else. When he is released, he commits a much smaller crime in order to get back into prison. He is comfortable in prison and may not feel he has much identity outside prison walls.

Colin is moved to a progressive prison where trust is the main thing. There are no wired fences but if you disobey the rules, you can go back to being familiar with wired fences in a hurry. He is given the opportunity to learn something but Colin has given up on life so he takes whatever job they give him, and of course he hates it.

One day his elderly cellmate, Fergus Wilks (played by David Kelly, from "Waking Ned Devine") gives him flower seeds. Colin plants them almost as an afterthought and probably just to shut up the friendly, outgoing Fergus. He is amazed to find that the flowers have grown, and grown beautifully.

Through a couple of twists, other prisoners along with Colin are given the task of growing and designing a garden on the prison grounds. They are reluctant to do this 'woman's work' but are soon immersed in the project. Colin especially has found his true calling in life - gardening. The next time he is called in front of the parole board, he expresses that he is no longer a prisoner, he is a gardener. He's a gardener.

Through some more twists, the prisoners meet Georgina Woodhouse, a renowned gardening expert. She takes on the guys as proteges and arranges for them to grow a garden at a nearby estate. Meanwhile, Colin gets the chance to romance Georgina's daughter, whose first misfortune was having Georgina for a Mother, and being called 'Primrose', a name she naturally despises.

The prisoners enter the race to win the Hampton Court Palace Flower Show, the best show in the world. This is where a couple of plot twists turn out to be a bit far-fetched and heavy-handed, as one of more likable prisoners has likely stolen from the estate they are working at, and subsequently leaves the prison. You don't get any follow-up to his story or find out what may have happened to him until the very end, and even then, its not enough.

Suffice to say, it has a satisfying ending. Maybe not the most satisfying ending, but like I said, let's leave the obvious to the American moviemakers.

Clive Owen is remarkable as Colin. He's a no-tricks type actor, he has no tricks up his sleeve. He pretty much lays it on the line. He doesn't overdo any of the aspects of Colin's personality at all. He is totally rude to Fergus to begin with and does not have one friend, but as he explained, he's nothing more than a prisoner. Now that he's found something new and valuable in his life, he is able to open up to the other guys, and to have his romance with Primrose, which by the way is not tacked on so as to please the audience members who like that sort of thing. Both people are more needy than they know so it seems natural that they would gravitate to one another.

I have to mention one very sweet scene - Colin is feeding some of the plants, and he's giving them a pep talk. He tells them that although they are going to the best flower show in the world, that they deserve to be there as much as the other flowers, and that they will make him proud. Just so touching, so revealing, so well done like 95% of the rest of the movie.

Helen Mirren as Georgina Woodhouse adds her customary expert performance. Danny Dyer as Tony, Adam Fogerty (he was in "Brassed Off" and played Gorgeous George in "Snatch") and David Kelly are perfect.

So sorry that others are too cynical to gain any enjoyment from this, but I loved it and that's a great feeling. 8/10.

I have a couple of cynical kin who sometimes go to the video rental store and select a movie solely because there are only one or two copies on the shelf. Their reasoning: wildly popular movies usually reflect the crass, Hollywood-dictated tastes of the ignorant masses, while a single- or double-copy film has had enough of a following to be recognized as worthwhile, but not enough to be awful. (Hey, don't blame me--I'm just quoting my nutty relatives.) But you know what? More often than not they bring home a charmer.

"Greenfingers" is such a one. British convicts in an experimental prison discover the joy of creating a beautiful garden. There are some painful setbacks and some delicious triumphs, mixed in with some lust here, some romance there--come to think of it, a kind of human garden. The characters are quirky and endearing, the situations amusing, the presentation economical. The cinematography is good, too; the opening scene could be entitled, "A Thousand Words," for what it's worth.

I particularly salute the courage of those who dared to people a movie with a warden who wasn't sadistic, a celebrated and haughty VIP who wasn't hateful, and well-behaved prisoners who got a break. (Next thing you know, they'll be making movies involving Christians who aren't hypocrites, parents who aren't fools, conservative legislators who aren't racists, and corporation execs who are just about as honest as the rest of us.)

(Naah--never happen.)

See this movie; unless you are an action junkie or a confirmed curmudgeon, it will make you smile and be glad.

7/10

'Greenfingers' is a marvelous and splendid little film. Writer and director Joel Hershman shows brilliant understanding of the British culture and the fascination towards gardening as it is superbly depicted in the film. Do not let the premise mislead you because 'Greenfingers' is about much more than 'a group of inmates interested in gardening'. Clive Owen's character Colin pretty much mentions it in one scene when the officials drop by to consider his parole. The gardens and flowers are a splendorous sight to behold. Hershman's solid writing gives us some wonderfully witty and humorous dialogues and one-liners but there are a few plot holes like how Governor Hodge handles the officials after Tony's escape, since the reputation of the 'open prison' is of utmost importance to him. The cast is first-rate and it includes an understated Clive Owen, a zesty and gorgeous Helen Mirren, a frolicsome David Kelly, a compassionate Warren Clarke, a childlike Danny Dyer, a funny Adam Fogerty and a sweet Natasha Little. Owen and Little form quite a nice pair. I also liked the background score. The songs inject further energy into the film. The beautiful visuals are picturesque rich with vibrant colours. 'Greenfingers' reminded me of the artistic values that flora brings to our lives and some nostalgic memories of when we had a garden that preoccupied us. This film is one entertaining and beautiful little movie.