artrex01
A rejoint le mai 2004
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Note de artrex01
I must have watched this film more than 10 times, and have enjoyed it. I especially enjoy the story of triumph over adversity; both in terms of the adversity of nature itself, as well as human nature.
The subplot of the commonality of humanity, together with the final denouement adds to my enjoyment.
As an Englishman living in Australia, I appreciate, especially the final scene in the club. I never fail to relish a glass of beer, or to finger-wipe the condensation on the glass.
(PS I would have made it 10 out of 10 if Miss Syms could have unhooked two more buttons on her shirt)
The subplot of the commonality of humanity, together with the final denouement adds to my enjoyment.
As an Englishman living in Australia, I appreciate, especially the final scene in the club. I never fail to relish a glass of beer, or to finger-wipe the condensation on the glass.
(PS I would have made it 10 out of 10 if Miss Syms could have unhooked two more buttons on her shirt)
Richard Wilson draws an acutely insightful picture of a man struggling (without success) to cope with the thoughtlessness, and callousness of today's grubby-minded and boorish Britain.
In so doing we are treated to the hilarious spectacle of all the misunderstandings and upsets that he experiences and inflicts on others. What underlines and high-lights the humour, is the martyrdom of his long-suffering wife (Annette Crosbie,) and the restrained outrage of his neighbor, underplayed with deliciously restrained, and articulate bafflement by Angus Deayton (ably assisted by Janine Duvitski).
If the plot lines are unlikely, then that is an essential ingredient of farce. If we laugh at Victor Meldrew, it is because he is a caricature, and perhaps we do not appreciate that his outrage is justified as he rails against the injustices and insults heaped upon him by an increasingly indifferent and uncaring society.
Hooray for his all-too-few triumphs and moments of dignified pathos.
In so doing we are treated to the hilarious spectacle of all the misunderstandings and upsets that he experiences and inflicts on others. What underlines and high-lights the humour, is the martyrdom of his long-suffering wife (Annette Crosbie,) and the restrained outrage of his neighbor, underplayed with deliciously restrained, and articulate bafflement by Angus Deayton (ably assisted by Janine Duvitski).
If the plot lines are unlikely, then that is an essential ingredient of farce. If we laugh at Victor Meldrew, it is because he is a caricature, and perhaps we do not appreciate that his outrage is justified as he rails against the injustices and insults heaped upon him by an increasingly indifferent and uncaring society.
Hooray for his all-too-few triumphs and moments of dignified pathos.