Ballando con uno sconosciuto

Although best known for his blockbuster hits FOUR WEDDINGS AND A FUNERAL and LOVE ACTUALLY, Mike Newell does a splendid job of bringing this tragic tale to the screen. The cinematography is lush and the recreation of London in the 1950's, both sets and costumes, is brilliantly realized. Obsession can be a difficult subject to tackle and yet one is compelled by the script, the visuals, and most of all the consummate acting, to see this affair through to it's conclusion. Miranda Richardson is the woman trapped by her need to make a good living and her inability to disentangle herself from the clutches of a destructive affair. An incredibly young Ruppert Everett and the redoubtable Ian Holm make up the other two sides of this twisted triangle. While all three actors shine, Richardson's portrayal is one of an individual tortured by a relationship that can never be and at a loss to explain why it endures to herself or anyone else. Not for the faint of heart but well worth the effort. Based on a true story.

Andy of Flatlands, yes maybe it was boring to you as it was based on fact, and face it the average working class person who lived in post war Britain had a boring and hard life. It is a damn good film, and you need to be able to work out the relationships for yourself without being spoon fed. I found it quite easy. I think you have missed the whole point of the miscarriage of justice that happened. Her speaking voice was typical of a working class women trying to be something she wasn't. Does the term "fur coat no knickers" mean anything to you? I suggest you watch it again. It is factual, damn good and worth watching. Miranda Richardson played the part really well as did all the cast. Their performances really were a great portrayal of the characters. By the way she was hanged (as a past tense and a past participle of hang, is used in the sense of "to put to death by hanging)not hung

I first heard of this movie at work in 1984 when I saw an engineer who had the movie ad pinned up in his cubicle. I'd had this movie in the back of my head and always meant to check it out, but I've never seen it for rental and didn't want to risk plunking down $20 to order it. It was worth the wait.

Miranda Richardson, probably best known for The Crying Game and Sleepy Hollow (Now there's a combo!) stars as Ruth Ellis, a deluded romantic from 1950's England who managed to ride a sexual obsession to her own execution, the last on the books in the country's history. All this comes at the expense of a man who truly loves her, and a son who is not a priority in her life, to say the least. Ellis was adored, worshipped even, by clumsy businessman Ian Holm, but she only has eyes for Ruppert Everett. Everett's a hot shot car driver working on some new car design that's he convinced is going to revolutionize the auto industry. He exudes the confidence that Holm couldn't hope to possess. All three performances are outstanding.

As the story unfolds, director Mike Newell seems to pull no punches. I don't know the how's or the who's of this case, but Newell gives this film an authenticity many strive for, but few attain. In essence, it's Holm's character that is hung out to dry. He has to stand by as Everett continually denigrates Richardson both physically (A few punches, a glass of booze in the face,etc.), and emotionally (Too many episodes to count). Holm could have been molded into a flawed hero, and perhaps he would have been in the hands of a director with eyes on receipts instead of craft. Everett's character could have slipped into melodrama, as well. He has a roguish charm, I suppose, but he's basically just a spoiled rich boy, the type to bring a low class Richardson too his parents estate, and be suprised when she is intimidated.

At the center is Richardson, bringing Ruth Ellis back to life. It's disturbing how she can see what she's doing to her young son, truly care for him, but not let it effect her. Even more reprehensible is watching her use Holm to watch her child while she crawls back to Everett after another beating, to sneak a quickie in a fog-filled back alley.

Mike Newell directed Donnie Brasco, an excellent film which took a similar, bleak look at the life of a policeman who set aside his family in the name of his job. Newell didn't flinch in painting Joseph Pistone (The real life cop), as an obsessed man who started to lose his own identity. Pistone's family pays a heavy price for his dedication (misplaced?), but Ruth Ellis' paid even more. She left a son alone, and it's not a stretch to infer that he led a desperate life, based on what we learn in the closing comments.

Don't wait 16 years to see this film, like I did. Hunt it down on cable, or check out your local video store. This is a small story that gets big treatment.

A grim slice of 1950s Britain is expertly recreated in Mike Newell's film 'Dance with a Stranger'. Miranda Richardson gives an expertly judged performance as Ruth Ellis, an ageing nightclub hostess whose desire to keep a little glamour in her life, coupled with a powerful mutual sexual attraction, led her into a relationship with a man who, while not exactly evil, was utterly self-absorbed and prone to intermittent violence. The story ends in murder, and Ellis is now famous as the last woman to be executed in Great Britain. Obviously, the film is sympathetic to her, and while her victim scarcely deserves death, the tale is compelling; and it makes one wonder how many of those killed by the state may have done a terrible thing, but may also have had a tale of their own. Some will argue that in cases such as these, there is no alternative in judgement but to assign absolute individual responsibility; personally, I think it's a more civilised country that retains the capacity to forgive.

Billing this as the tale of "the last woman who was executed in Britain" sorta lets you know up front that Miranda Richardson's widescreen debut is going to end badly.

Director Mike Newell (Four Weddings and a Funeral) pulls gut~wrenching performances from his leads, Miranda Richardson, Rupert Everett & the always~underrated Ian Holm, in this fascinating fact~based story about utter sexual obsession.

Set in the dark '50s.

Ruth Ellis (Richardson) runs and lives above a nightclub/brothel frequented by several of London's wealthy gadflies. She's platinum blonde, all brass and ummm... well~liked by the local gentry.

She also has a young son named Andy, about to enter school, who turns the blindest of innocent eyes to Mom's lifestyle.

Enter David (Everett), a sullen alcoholic rich boy and LeMans auto racer wannabe who's taken in by Ruth's wiles within moments of seeing her for the first time ~ after being introduced to Ruth and her "club" by his equally well~heeled close friend Desmond (Holm).

What unfolds is the single most riveting ~ and more importantly, believable ~ love/hate relationship film I've seen. There have been tons of movies about obsessive lust (and I'm not talking about the flix they rent behind that door at the back of your video store whose "A" section takes up three aisles) but this one is a real treat.

David, you see, is seriously involved with another woman when he meets Ruth... yet beds the latter in quick fashion. The other woman (eventually his fiancee) is the rub. As is David's penchant for getting drunk and simultaneously developing still a third wandering eye.

Still, it's Ruth he wants. To the point of showing up at the oddest of times to woo (or just rant drunkenly, incoherently at ~ or just to hit) her. All the while winnowing his way deeply into Ruth and her son's hearts and lives.

Meanwhile Desmond stands stoically by until nearly the bitter end, supporting Ruth during LeMans~boy's long absences and sustaining her each time David fails to live up to his promises, which is pretty much always.

The "fights betwixt the leads" scenes are the best, the most creatively acted and directed.

After a while, Newell yanks you into the almost~triangle between the three and one begins to attempt to choose sides. This proves to be impossible, as none of the characters are particularly sympathetic.

IE: this ain't a Hollywood movie. Each character has flaws which are well~defined, there's no happy ending and (are you listening, Jim Cameron?)... no sequel.

Richardson is simply astonishing in her premiere. Each note she plays, screaming or smoldering, is just right (hence Miranda's Rights).

Everett's superb as the sociopathically obsessed lover.

And Holm is, well, brilliant. Color him unrequited with a vengeance.

9 of 10 Niro~Stars