L'ultimo bicchiere

This is acting of the very highest order by a British dream cast. The pace is leisurely, the tone sad, the journey well worth taking. Why no Oscar nominations? This is so un-Hollywood, it's a balm for adults who want to appreciate the cream of British talent.

In London, in a pub, the friends Vic Tucker (Tom Courtney), owner of a funerary agency, the former boxer Lenny (David Hemmings) and the gambler Ray Johnson (Bob Hoskins) gathers with Vince Dodds (Ray Winstone), the owner of a `showroom', to accomplish the last wish of his father and local butcher Jack Dodds (Michael Caine): to throw his ashes in the sea, in Margate. His wife Amy (Helen Mirren) delivered a note to Ray, where Jack expressed his last desire. Along their journey in a Mercedes Benz, the story of their lives is disclosed through flashbacks or thoughts, where deep secrets are revealed to the viewers along 109 minutes of this excellent film. The cast of this movie is outstanding and their performances are fantastic. There are many subplots and in the end, all the characters are very well developed though their personal dramas, recollections and dialogs. A touching movie about friendship, revelations and farewell, and highly recommended for sensitive persons. My vote is nine.

Title (Brazil): `O Último Adeus' (`The Last Goodbye')

Upon reaching a certain age, especially when a proper catalyst is provided, one may become wont to consider and reflect upon the life one has lived-- to take stock, as it were. And, without question, the death of a long-time, close friend or associate can effect such a catalysis, which is precisely what happens in `Last Orders,' directed by Fred Schepisi, a drama that suggests that perhaps the end of a life can offer a valuable and renewed perspective to those who go on to write yet another chapter of their own in this great book we fondly know as the Human Comedy. Finally, it's about individual resolve and beginnings that can be found in endings, and the life therein reserved for those who may yet count themselves among the living.

Jack (Michael Caine), a working class butcher in London, planned one day to retire with his lovely wife, Amy (Helen Mirren), to the seaside hamlet of Margate. As often happens in life, however, Jack was denied the realization of his dream by the unbidden intervention of Fate, in the form of it's eternal emissary, The Grim Reaper. But Jack enters his everlasting sleep even as he lived his life, one step ahead of the other guy; and the attainment of his final wish begins with the consigning of his ashes to his three closest, life-long friends and his son, Vince (Ray Winstone), along with a request he adjures them as a group to honor. And so it is that Vince, Vic (Tom Courtenay), Lenny (David Hemmings), and Jack's best friend, Ray (Bob Hoskins), set out on a journey to effect the `Last orders' of their good friend, Jack; a journey that will take them into the future by way of the past, as they reflect upon what has gone before, and the possibilities that now lay ahead.

With this film, Schepisi has crafted and delivered what is essentially a moment in time; a moment he examines through a sentimental journey rife with all of the hard knocks and stoic truths that made up Jack's life, and which he presents just as Jack lived it. And a sentimental journey though it may be, don't expect to be seeing it through rose colored glasses. As the story unfolds, what emerges is a portrait of a complex individual made up of the myriad and many facets of the human condition. And each flashback, combined with an episode from the present, reveals another piece of the puzzle that was Jack; and by the end, the picture we have of him is complete. We see him for who and what he really was, good, bad or indifferent, with all the flaws and foibles that were part and parcel of the ebb and flow of his life-- everything that defined him as a human being. Also, inasmuch as the story is told through the eyes of his friends and loved ones, it necessarily follows that they are revealed, as well, especially Amy and Ray. We do get to know Vince, Vic and Lenny, of course, but to something of a lesser degree. In the final analysis, then, what Schepisi has created here is nothing less than an intimate and incisive character study through which Jack, his friends and their story comes vividly to life. Schepisi does the material proud, but then he was, of course, afforded the talents of an extraordinarily gifted ensemble cast, from which he extracts a number of memorable performances.

As Lawrence Jamieson in 1988's `Dirty Rotten Scoundrels,' he was the most suave and sophisticated gentleman (albeit con man) the screen has seen since Niven or Grant, but without question, since his portrayal of `Alfie,' in 1966, Michael Caine has been everyones favorite cockney, and no one-- make that NO one-- does it better. And it's precisely that nuance of character that Caine brings to his portrayal of Jack that makes him so alive and convincing. Caine can be ingratiating even when he's playing a `hard' guy, and there is a decidedly hard side to Jack; but there's a very caring side to Jack, too, which Caine also manages to convey with facility, and he does a splendid job of fusing the many sides of his character into one very real whole. It's the kind of top notch performance we've come to expect from Caine, and it makes his character and the film entirely credible.

When it comes to playing cockney, Caine may be the King, but Bob Hoskins is certainly the Crown Prince, coming in a close second. These two, in fact, would clean up if the Oscars ever decided to include the categories of Best Cockney and Best Supporting Cockney. There are times, perhaps, when you have to turn an ear in to understand what they're saying, but it's part of the charm and viability of their respective portrayals. And Hoskins has an appeal all his own, and though he lacks Caine's charisma, he does have a definite screen presence, all of which helps to make the relationship between Ray and Jack believable.

The wonderful Helen Mirren, meanwhile, turns in a remarkably poignant performance as Amy. Her portrayal readily brings the inner conflicts and complexities of her character to the fore, as Mirren successfully shows us the many sides of this woman, who is wife, lover and mother, all rolled into one. Most importantly, her Amy is so human; there is an earthiness to her, but it is tempered by her more maternal and caring instincts, and it lends an honesty and integrity to the character that makes her very real.

Courtenay, Hemmings and Winstone turn in noteworthy performances, too, each making the utmost of the screen time they are afforded, successfully establishing their characters and the nature of their relationship with Jack as well as one another. It's all a part of what makes `Last Orders' such entertaining and engaging cinema, a film that is both sincere and unforgettable. And that's the magic of the movies. 9/10.

This is a wonderfully warm and human film, perhaps a "guy's movie" as opposed to the many "girls' movies." How can you miss with such a great cast? Helen Mirren. Bob Hoskins. Michael Caine. They do a wonderful job on the story of old friends devastated by the loss of one of their group. If I have one criticism it is the overuse of flashbacks. There even are flashbacks within flashbacks. It's followed easily enough yet the total effect is one of choppiness. But the story is warm, the performances solid and a bonus is the many scenes in and around London. The Brits, unlike Hollywood, do not demand that everything be pretty and that the sun always shine. Helen Mirren is excellent again as a woman past the prime of life. Hollywood would have tarted her up. And there are plenty of grey skies and rainshowers. (Hey, this is England after all} A very fine film that obviously was a labour of love.

Last orders is a very simple movie. It is based upon one of cinema's simplest genres: The Road Movie. It is about simple people who lead simple lives wherein very little happens very often. But behind this simplicity lies the dreams and desires and mistakes and wasted opportunities of these simple people. Small things (relatively speaking) which would seem to have little consequence on the outside world; but then, we all live in a much smaller world - don't we - and even the tiniest broken dream can sometimes leave us empty - if only for a moment.

This is a film then about people. About how people view each other. About how people can harbour the most powerful emotions or secrets - or both - without even those closest to them having the faintest idea. About the importance of friendship and the universality of loss: innocence as well as bereavement.

So four simple folk take the ashes of their old mate to be scattered into the sea at faded old, lost innocence Margate. While the deceased's wife - avoiding this trip - visits their estranged, handicapped daughter for the final time. We see how they relate (and related) to their old, dead friend and to each other. We see that great tragedy need not be about 'great' people. We see that pure love need not derive from 'pure' people. We see that life and living and loving are as difficult (and as inspirational) for the simplest of folk. And we celebrate this empathy.

Last Orders is a slow burning film with an occasionally awkward script and a potentially confusing narrative. But for all that, it is a fine, frequently moving, honest piece of cinema. The photography is consistently evocative; the acting is impeccable (Winstone impresses as the stoic son; Hemmings crackles as the bludgeoning, second rate pugilist) and several set pieces are profoundly sincere (the scene in the field is electric); but this is not a film that exists to shine incandescently - only to burn, quietly and slowly, until it says what it has to and the fuse runs out. It's worth staying with because, as simple as these people are, if they can't tell you a little something about the sadness and joy and - above all - the wonderful uncertainty of life... then you're probably already dead.