Lorsque les habitants de Littlehampton, y compris le conservateur Edith, commencent à recevoir des lettres remplies de blasphèmes hilarants, Rose, une immigrante irlandaise turbulente, est a... Tout lireLorsque les habitants de Littlehampton, y compris le conservateur Edith, commencent à recevoir des lettres remplies de blasphèmes hilarants, Rose, une immigrante irlandaise turbulente, est accusée du crime.Lorsque les habitants de Littlehampton, y compris le conservateur Edith, commencent à recevoir des lettres remplies de blasphèmes hilarants, Rose, une immigrante irlandaise turbulente, est accusée du crime.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 9 nominations au total
Avis à la une
The narrative and themes within this are incredibly strong. By exploring how female behaviour was strictly controlled in a patriarchal and religious setting, the film emphasises the absurdity and hypocrisy in how 1920s women were treated. Jessie Buckley, Olivia Coleman, and Anjana Vasan make for an excellent leading trio!
Although, the cinematography and editing needed to be more adventurous. It could have visually reflected the personality of each of the main trio, such as having Buckley's character scenes having more unconventional visuals. This is only a slight criticism though. Please check this one out if you are not adversed to swearing!
The tone problems all stem from the direction of the piece. Its great to see such a diverse cast, but that diversity of casting does a historical injustice to Karpal Kaur Sandhu who was the first serving Asian woman in the police, her story is truly heroic and tragic, and ignoring any racial tension in 1920's Britain is also anachronistic and fantastical. Those moments give the work an uneven tone, and the longer the movie goes on the more the direction lurches from a fun tone it something closer to what the movie can be.
The outstanding moments in this film come from Jessie Buckley, who like Maggie Smith in her younger years bursts onto the screen with energy and charisma. Olivia Coleman is always full of nuance and depth - those two central performances carry the movie. Anjana Vasan is charming and full of comic energy she is required to carry a part which has some very odd writing and character development. She does it like a star.
A very odd movie in some ways but worth you time if you can get over the anachronisms and the uneven tone.
It follows a series of bizarre events as the pious and reserved Edith receives a string of crude letters, supposedly from her boisterous neighbour Rose. It's one of those delightful British films that brings to a light a surprisingly true story and packs it full of brilliant British talent.
The story is great fun. As mentioned it's cheeky and lewd but this isn't the only string to its bow. There are some brilliantly fleshed out and interesting lead characters as well as a great collection of supporting characters, which gives it a great blend of comedy and drama.
Jessie Buckley and Olivia Colman as the two leads are both brilliant as expected. They each bring a different style of comedy to their characters, elevating the witty dialogue superbly. They are just such great fun to watch.
Overall this film is just an absolute hoot. It's fun and quirky and boisterous and just a really good time.
The movie at once both addresses distrust of the "other" (especially considering how the English viewed the Irish) and people's tendency to dumb down their language to sound "appropriate". One scene in particular seems to say "well that felt good". I wouldn't call it a masterpiece - especially when you read about the inaccuracies - but it's got some funny stuff. I suspect that deep down, a lot of Christians wish that they could spout all the profanities they want.
In addition to stars Olivia Colman and Jessie Buckley, it also has Anjana Vasan (from last year's season finale of "Black Mirror"), Timothy Spall (Wormtail in the Harry Potter movies) and Alisha Weir (the title character in the recent "Abigail").
Le saviez-vous
- AnecdotesBritain's first women police constables were employed in 1915; an important example of women showing they were capable of doing previously exclusive "men's work" during the First World War and not standing down afterwards.
- GaffesThe sound of the judge banging a gavel is heard several times in the courtroom scenes. In England only auctioneers use gavels; judges have never done so.
- Citations
[last lines]
Edward Swan: I know you didn't do it!
Edith Swan: Yes, I did.
Edward Swan: We'll get you bail.
Edith Swan: I did it, father!
Edward Swan: When you get back...
Edith Swan: [interrupts] I'm not coming back.
Edward Swan: You know, don't say that.
Edith Swan: I'm not coming back home to you ever.
Edward Swan: Where else are you gonna go?
Edith Swan: Anywhere!
Edward Swan: Edie, shut up!
Edith Swan: Anywhere!
Edward Swan: Shut up! Shut up! *Shut up!*
Edith Swan: [overlapping] Anywhere! Anywhere!
[not overlapping, shouting]
Edith Swan: *Oh, fuck off you pasty old shrivelled old piss bastard fucking old cunt!*
- ConnexionsFeatured in The 7PM Project: Épisode datant du 22 mars 2024 (2024)
- Bandes originalesCrazy Blues
Written by Perry Bradford
Published by Universal/MCA Music Ltd. on behalf of Universal Music Corp.
Performed by Noble Sissle with Eubie Blake
Courtesy of Document Records
Licence by arrangement with Fine Gold Music
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- Pequeñas Cartas Indiscretas
- Lieux de tournage
- HMP Shepton Mallet, Royaume-Uni (RU)(Trailer, prison yard)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut aux États-Unis et au Canada
- 5 008 179 $US
- Week-end de sortie aux États-Unis et au Canada
- 76 654 $US
- 31 mars 2024
- Montant brut mondial
- 27 219 729 $US
- Durée
- 1h 40min(100 min)
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1