Gosford Park

When Robert Altman makes a new film, it's always a noteworthy event that gets the attention of critics and audiences alike: large productions with huge ensemble casts of major Hollywood movie stars, playing real people with full, fleshed out characters, each with their own subplots that intertwine only subtly, until the end when it all finally makes sense. In Gosford Park, Altman makes only two changes to this formula: Hollywood stars are replaced by Top British talent that may be unfamiliar to most American audiences, and a straightforward murder mystery supplants his traditionally complicated plot line. It is in these changes, however, where Altman charms his audiences in a new way. The story takes place in 1932 at a gathering of aristocrats and their servants for a hunting country weekend at the estate of Sir William McCordle. Some time after all the guests are settled in and whose affairs begin to intertwine, one of them is bumped off. While all the characters are well fleshed out, it's Mary, played by Kelly Macdonald, who is the focus of the drama. She's the maid of Maggie Smith's Countess Constance of Trentham, and is being groomed to follow a path to become head servant. After the murder takes place, emotions unfold and secrets from the past are revealed that help the characters - and the audience - solve the mystery. The drama is even more punctuated when Mary's innocence and naiveté is lost as she pieces together the deeper scandal, involving servant-master sexual relations and bastard children.

One of the best aspects of film is how it illustrates that fine line dividing the master-servant social structures, and how often that line is crossed, reminding us that life is just a game of costumes and masks, and we're all the same underneath. While the story was reminiscent of Agatha Christie's Ten Little Indians, where it's the mystery that captivates the audience, Altman goes beyond the mystery with Gosford Park by using the murder as a vehicle to draw attention to the human condition and class hierarchy.

On the downside, but to no surprise to fans of Altman's work, the movie is often hard to follow. His style of filmmaking involves entanglements of characters and subplots that don't appear to have much to do with one another at first blush, and Gosford Park takes this to the next level. Here, the murder takes place at the climax of this confusion, leaving you rather disoriented in the middle of the 2-hour-plus drama. Fortunately, the tone loosens up when a comedy-dim police inspector basically gets nowhere in his investigation, but the pieces start coming together through the other characters. The good news is that it all seems to come together in the end in a way that didn't require grasping every detail of every scene.

Despite its intricacies and confusing moments, there is so much more to Gosford Park that makes it interesting and enchanting. While it is clearly a sophisticated piece of film work with impeccable acting, directing and design, don't stress about not keeping up with it all the time. Sit back and take it in, and you'll feel satisfied in the end.

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 film that I consider quite underrated. There's not a moment wasted. Every little subtle detail counts. And it's for this reason that it's difficult for a person to appreciate the film after a single viewing, especially not knowing anything about it going in. Even once the mystery's solution is revealed, you'll find that a second viewing ties together various details that you hadn't considered the first time, and you'll get a much better overall picture of the story and each character's role.

The acting is superb, and this is a movie that really benefited from its great actors. Too often people will praise the acting of a film just because it has famous people in it, even of their talents weren't fully utilized for the characters they portrayed. But these characters were complex and it was those subtle aspects of the acting, the brief facial expressions, tones of voice, and other details that took the film to the next level.

Interesting character studies, an enticing mystery, a bit of humor, an homage to classic detective films, and a drama that gives you a glimpse of a very specific little world, one that you're probably not accustomed to. Those are the things you can expect from Gosford Park, and I highly recommend it.

In 1932, a group of socialites, landowners, Americans and their servants arrive at a country house for a shooting party over the weekend. As the relationships and tensions twist and weave upstairs, so too do the dynamics and relationships between the various house staff and valets below the stairs. Stories and characters play out but whenever a murder takes place, the police move in and everyone is a suspect.

My plot summary suggests that this is a sort of murder mystery and that this will act as the driving force behind the narrative, however this is not the case and in reality the film is much more about the characters and relationships than it is about the murder. To this end the film will annoy some people who are perhaps not used to the sort of film that Altman produces and will be looking for the mystery aspect to be the all. However, I found the rather free-wheeling ensemble approach to be very enjoyable and the first hour moved quickly by thanks to the natural interactions and relationships and it was actually the mystery aspect that didn't work as well because it required too sudden a change in pace – a change that the material seemed to resist and hamper. Despite this it does still work mainly because the Oscar winning writing brings out such convincing relationships and social politics, making it enjoyable and interesting throughout. The direction is great; the use of two cameras in group scenes means that the actors seem to flow around as naturally as their dialogue would suggest – few seem forced to act to a fixed point and seem more realistic.

Considering the talent on board, it is not surprising that nobody really upstages anyone in particular and the ensemble feel is strong. Smith, Gambon, Thomas, Dance, Northam, Balaban and others make the upstairs fizzle with snobbery and unspoken resentments. Meanwhile the downstairs staff are just as well drawn and delivered by Mirren, Owen, Jacobi, Watson, Bates, Grant, Atkins and others. Stephen Fry is fairly minor within the plot but he is delightfully comic, even if he doesn't quite fit into the film that well.

Overall this is a classy film very much in the Altman style – an ensemble piece of characters and relationships that we are left to drift within. Some viewers will find it frustrating that it takes so long to get to the point where the mystery kicks in but I actually found this to be the weaker aspect of the film and the most enjoyable parts were the well written characters and dialogue, which deservedly won Fellowes his Oscar.

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.