Ethel & Ernest

What a wonderful thing Raymond Briggs has done. This magnificent, sensitive and funny animated film about the lives of his parents Ethel and Ernest is a triumph. It surpasses even his famous THE SNOWMAN (1982) and, I daresay, is what he will truly be remembered for. In this age in which we live at present, when the ordinary people are rising up in revolt against their snotty and arrogant politicians, in what the elites patronisingly call 'populism' (and what is wrong with the populus, then, that it should become a term of derision?), we have here the perfect paean to real life, to real people, to real hopes and to real dreams. With his subtle and loving humour, which pervades the entire film, Briggs brings to life his parents in the most intimate possible manner. He allows us to chuckle at their foibles, without ever once looking down upon their numerous limitations. The story starts in 1928 when his parents meet. Ethel is a lady's maid who waves at the jolly young man who rides past her window every day. Before long, he turns up with flowers and asks her to go to 'the pictures' with him. And soon enough they are married. But time goes by and they do not seem able to have a baby, and Ethel cries and says she is getting too old. But Fate intervenes, and Raymond is born, though the doctor warns Ernest they must not have any more, as 'it was hit and miss' and 'more children means no wife'. So they settle for the one child. We are taken through the whole of the period between 1928 and 1971 as seen through the eyes of Ethel and Ernest. Ernest reads the paper every day eagerly, and is always saying things like: 'Crikey! Hitler's just invaded Russia!' and reacting to world events in the kitchen. Ethel pays little attention and does not much grasp the significance of things. For instance, when told that the Duke and Duchess of Windsor are going to meet with Hitler, her reaction is 'He can't be too bad then.' Raymond does not hesitate to make fun of himself, mocking his own affectations as an art student and his refusal to comb his hair. Every day domesticity is elevated to the status of a mythology in this film, and Alan Bennett's eye for the details of daily life is actually surpassed here, which I would not have thought possible. This film is really a love poem by Raymond Briggs to his parents, whose own lifelong love story is so touchingly revealed to us in all of its minutiae. Rarely can anyone have paid such an intense and devoted tribute to his parents, in any art form. To do so with Briggs's magical drawing talent is so evocative and so moving that we have here what is truly a transcendent work of art. The direction by Roger Mainwood is perfect, and Jim Broadbent's voice for Ernest and Brenda Blethyn's voice for Ethel are beyond perfection. The other voices are also excellent. This film may not have the obvious attraction of snowmen flying through the air, but it soars nevertheless, higher than the air in fact, into a realm of pure love and pure simplicity. Long live real people! And may those who celebrate them always be honoured, as Raymond Briggs deserves to be for many long, long years to come.

In a year where the Christmas TV schedules have been packed with 'specials' that weren't special at all it's very refreshing (and a nice change) to have something as lovely as 'Ethel and Ernest' on to watch.

Beautifully animated, it brings to life Raymond Briggs' graphic novel of the same name. Capturing the life of his parents this charts their struggles, their highs/lows against the changing face of Britain.

The book covers some tough issues, and I was pleased to see that the film did not shy away from these either, but doing so in a dignified and poetic way.

Parents thinking this is going to be like 'The Snowman', another adaptation of Briggs' work should be warned though, this isn't always child friendly due to the content.

Well done to all those involved in the making of this film.

The notion of 'ordinary people' is perverse, like fingerprints, everyone is different, living in a celebrity culture where appearing on a television reality show can somehow make you special, someone to keep up with or be interested by, it was timely to receive this Christmas antidote to superficial stardom.

Raymond Briggs' endearing depiction of his parents through a tumultuous half of the 20th century was also an excellent history lesson, showing how major, earth-shattering events influenced supposedly ordinary people. Most of all, it showed how class, status, social mobility and home ownership influenced British social history. There are sadly few milkman around now, if there were, neither they nor contemporary equivalents, would be able to afford the spacious terrace house in Wimbledon!

Just as in Robert Tressell's landmark work 'The Ragged Trousered Philanthropists' Edwardian decorators did not think privilege was 'for the likes of us', former ladies maid Ethel, supported the status quo, voted Conservative, did not envisage storming the barricades anytime soon, whilst Ernest aspired to Labour's inspirational message after the travails of Workd War 2 and was an intrinsic part of the ideological spirit that brought the NHS, welfare state and a less class-ridden society.

Raymond is shown eschewing office work, despite having worked as a draughtsman during national service, for the seemingly risky and unstable world of art. How right he was, as we saw, to follow his talent and become one of the world's greatest illustrators. Although his parents were not famous, they showed the extraordinary stoicism that brought this country through. Sadly extreme voices, alienation and dissimilitude have turned true British grit, tolerance and decency upside down with the appalling, self-defeating referendum and disgraceful betrayal of 'Brexit means Brexit'. Whether part of a family (as here), community (partying on VE Day) or country (Ernest reading the paper daily and keeping up with news on the radio), we are part of one Europe and one world; fragmenting it will lead back to Morrison Shelters in the lounge - or worse.

The innate decency of Briggs and his parents, their acceptance of only being able to have one (super) child, Raymond's wife being schizophrenic and unable to have children, was a marker of this warm, life-affirming film which not only brought tears to our eyes, but should lead us to be better people and show a more caring attitude. We may not all be illustrators or artists, but we can all draw our conclusions....

I had, of course, read the reviews of this film before unintentionally falling upon it by chance on Christmas television.

I have long lamented the lack of charm in most of the recent Disney films, for example, indeed the absence of charm in today's society in general, but it is present in this film in abundance. Not only is this film visually captivating but I was frequently moved to tears by the unexpected pathos of this story, which is a microcosm of the experiences of that most extra-ordinary generation who fought and survived the Second World War and who's members, through age and slow disease, are now virtually all departed from this world.

This film is sincere, amusing and observant, and like the Snowman, however different in style, will endure forever.

This is based on British graphic novelist Raymond Briggs' parents. It's 1928 London. Ernest Briggs (Jim Broadbent) rides his bike to work every day and he catches the eye of a Lady's maid Ethel (Brenda Blethyn) in her 30s. She's surprised when he shows up at the door asking for a date. It's the start of a life long love affair.

This reminds me of the first five minutes of Up. It's a poignant portrayal of a love that is built over a lifetime. It's not a happily ever after riding into the sunset. It's a life of living together, loving together, and working together. There are personal struggles and living under world struggles. It always hits me when a husband or wife can't survive after the death of the other. It's a good tissue movie.