A very Englishman

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.

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.

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.

Steve Coogan was turned down for the lead in The Life and Death of Peter Sellers, losing out to Geoffrey Rush, and I get the feeling this is his attempts to compensate. It is a biopic with a retro look, encompassing the same era and focused on an oft unsympathetic individual who goes on to neglect his wife and kids.

The problem is that Sellers was a man of a hundred faces while Paul Raymond seems to have none, he always came across as a deeply uncharismatic, grey little man so instead Coogan pastes his own TV persona onto him. It's not quite Partridge, but we've seen it before in 24 Hour Party People and in things like Tristram Shandy and The Trip, where Coogan plays an unflattering version of himself - sort of narcissistic, insecure, a bit sarcastic and witty, not without flair.

I didn't mind this in the Tony Wilson biopic, largely because that was played for laughs and also looked outwards to the whole Manchester music scene, but I did mind it here. We really have no clearer idea of Raymond's personality at the end of it - it maybe should have looked at the hangers on a bit more and the world of Soho generally. What's more, the pop music tends to date better than soft porn. For this to be a celebration of the Raymond Revue Bar, you'd have to contrast the buxom babes with the dour, pinched women of the era, starchy Margot Ledbetters and Margaret Thatchers, with hornrimmed spectacles and never a day in the gym. (Not saying the blokes looked much better back then to be fair. A quick look on Google Images reveals that the real Raymond was severely balding even by the mid 1960s, so must have sported a heavy hairpiece for his lothario years.)

Imogen Poots is poignant as his daughter, and they try to make out she's the same fit as newspaper proprietor Kane's wife, with similar ill-advised showbiz ambitions. Poots gets to sing the title track rather affectingly, the other song on a loop is Anyone Who Had a Heart, so maybe they were going to go with that title for the film at one point. But it's all very broadly written, and too much improvised it seems. Chris Addison impresses as one of the hangers- on, but I couldn't help thinking (due to his look in this) that we'd be better watching a history of Radio 1, with Addison as DLT and Coogan as the odious Jimmy Savile.

As for other stars, Stephen Fry plays a judge and is in this for less than a minute, David Walliams has a recurring cameo as a lecherous vicar, the sort of role that Terry Scott would have played, but is given no backstory or context to speak of, while Matt Lucas plays a stage character for all of 30 seconds. So don't be fooled by scrolling down the cast list, it's fairly slim pickings and at times it resembles those awful No Sex Please We're British movies of the day. You do get a fair bit of sex, with coke snorting atop many a bare breast, so it's not one to watch with the folks, but I can't say it's quite as erotic as I'd like, maybe because tastes have moved on since then.

3 of my favourite films have been directed by Michael Winterbottom and starred Steve Coogan. A Cock And Bull Story, 24 Hour Party People and The Trip (in the UK we were lucky enough to see the full TV series, but the movie version was great as well).

This isn't as good, but still entertaining. When I was pubescent, Paul Raymond's Men Only magazine was a must-read if you could get an adult to buy it for you, and Fiona Richmond was someone you thought you might just have a chance with if you got to meet her. In short, this film meant a lot to me.

My problem with this is that it's all far too glossy. Soho in the 60/70/80's and there isn't a villain in sight and everything going on is fairly innocuous? And I really liked Paul Raymond, but to survive in that environment there must have been more to him.

Anyway, an enjoyable film overall. And I went away with that final close-up on Imogen Poots as Debbie singing the title song almost breaking my heart.