Mothering Sunday

The scenery is incredible, as is the performances of Colin Firth and Olivia Colman.

The rest of the movie is incredibly disjointed, and because there is no actual emotion or feeling between the two main characters, Odessa Young and Josh O'Connor, it quickly became annoying. There is only so much cigarette smoking a person can watch before you realize, I suppose, this is the point where the viewer is supposed to be emotionally touched. The problem is, I wasn't. Ever.

This felt like going to a beautiful restaurant and waiting so long for your meal that by the time it's gets there you want to throw the plate on the floor.

Much of the movie is beyond belief, such as the maidservant (who, between the wars, works for the wealthy Niven family), wandering naked through a manor house, seemingly unconcerned that the owners may show up...for over an hour.

At every turn, I kept thinking, here it is, we must be getting to the point...but 'the point' simply never happened.

A waste of talent and scenery, however it is worth watching simply for the performances of Firth and Colman. They are outstanding.

Eva Husson's first English-language film, 'Mothering Sunday,' is a lusty, deeply melancholy portrayal of loss and its lasting impact that often feels disjointed and uneven. It's pretty to look at with impressive performances (and sizzling chemisty) from Odessa Young and Josh O'Connor but, unfortunately, doesn't offer much else.

So this film is simply gorgeous.

It has a period feel but isn't stuffy. There are as many scenes without clothes as with them - and the actors are beautifully unselfconscious and believable.

The Nivens: an unfathomably brittle, broken and grieving mother (Olivia Coleman) and gentle, empty and lost father and husband (Colin Firth) are exquisitely cast and played - Firth visibly flinches in pain and empathy as Cole snaps at his continued efforts at politeness and generosity to friends. Their lack of sons is palpable in Firth's playing or Mr Niven's gentle paternal encouragement of all the young people they share their lives with (the maid and narrator included) and Cole's sharp silence.

The character of the narrator binds the temporal shifts together as we see how the events of one day can impact a whole life. Amazing acting from Odessa Young makes this film a joy to watch.

The only complaint is the slightly obvious addition of the narrator as an old woman (Glenda Jackson) - this trope is, no doubt, in the source material but could have been omitted as it only serves to make the structure a little cliched.

Otherwise a wonderful and sumptuous - and incredibly well acted - film which is well worth watching over and over again .

Lots of earthy cinematography... very decent acting and an interesting story... a movie to just relax and ponder. The weaving of nude shots of Odessa Young are masterful... done with taste... while not taking over the story. A lot of character building in such a short time.

It is soon after the First World War and three middle-aged couples gather for lunch on Mothers' Day to celebrate the engagement of Paul (Josh O'Connor), the only survivor of the couples' five sons, the rest of whom were killed during the war. But Paul is late to the lunch, because he is having a last tryst with Jane (Odessa Young), a maid employed by one of the couples, the Nivens (Colin Firth and Olivia Coleman). Running parallel to that story is one set some years later, when Jane is a published author and living with fellow writer Donald (Sope Dirisu), who is gentle and wise in the way sole black characters in this sort of production often are. And running parallel to *that* is a story set many *decades* later, in which Jane has grown into Glenda Jackson and reminisces about her two lovers.

Stories revolving around romantic relationships between the British rich 'upstairs' and their subordinates 'downstairs' are ten a penny - although Jane has more common sense than the usual waif and there was not quite as much nudity in the likes of 'Downton Abbey' as there is here! Many of the characters are two-dimensional - Firth does his uncomfortable upper-class schtick yet again and Coleman also seems to be 'phoning in her performance, at least until an emotional outburst makes the viewer realise there is, after all, some life to Mrs Niven. The constant back-and-forth between the various time periods could have been confusing but director Eva Husson manages to give each one a distinctive tone.

On the whole, an enjoyable film that manages to be comforting because of its predictability.