Julie_Julii
Iscritto in data feb 2002
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Recensioni2
Valutazione di Julie_Julii
A beautiful and moving film. I didn't know what it was about as the trailer didn't reveal much other than the relationship between Nighy and McDonald so I was thinking it was just a gentle love story, a British 'Lost in Translation'.
But what transpired was so much more than that. I thought the way the enormous issue of global poverty and the few people who hold the political power to affect change was dealt with intelligently and sensitively and interwoven poignantly with the strange romance developing between the two leads.
I'm not too familiar with the background of the film but I would hazard a guess that the seeds of the project were sown when Richard Curtis wrote 'Love Actually' which included a subplot where the British PM (Hugh Grant) publicly opposed policies brought forward by the American president (Billy Bob Thornton).
Since 'Love Actually' was a light-hearted romantic comedy, the politics were never elaborated on but I'm sure that 'The Girl in the Cafe' was the opportunity for Curtis to put this topical issue into terms that anyone could understand and empathise with. The timing, of course, is impeccable, with the G8 summit to be held in Scotland within 2 weeks and widespread attention of the summit brought to the masses by Sir Bob Geldof and the simultaneous Live 8 series of concerts.
It goes without saying that the performances of the two leads are spot-on, Bill Nighy is the king of understated pathos as Lawrence and Kelly McDonald is gracious as the mysterious but steely Gina.
The film is shot in (literally) cool locations and makes a fantastic ad for the chilled aloofness that is Reykjavik.
But at the heart of this love story are the nameless, faceless millions who suffer daily and the ease with which this fact is taken as statistic. Africa has never before been on the forefront of social issues as it is today and to anyone who might be under the impression that poverty is an issue for politicians to sort out around the conference table, 'The Girl in the Cafe' is a potent reminder that the power to affect change is more immediate than we might think. Superb.
Make Poverty History
But what transpired was so much more than that. I thought the way the enormous issue of global poverty and the few people who hold the political power to affect change was dealt with intelligently and sensitively and interwoven poignantly with the strange romance developing between the two leads.
I'm not too familiar with the background of the film but I would hazard a guess that the seeds of the project were sown when Richard Curtis wrote 'Love Actually' which included a subplot where the British PM (Hugh Grant) publicly opposed policies brought forward by the American president (Billy Bob Thornton).
Since 'Love Actually' was a light-hearted romantic comedy, the politics were never elaborated on but I'm sure that 'The Girl in the Cafe' was the opportunity for Curtis to put this topical issue into terms that anyone could understand and empathise with. The timing, of course, is impeccable, with the G8 summit to be held in Scotland within 2 weeks and widespread attention of the summit brought to the masses by Sir Bob Geldof and the simultaneous Live 8 series of concerts.
It goes without saying that the performances of the two leads are spot-on, Bill Nighy is the king of understated pathos as Lawrence and Kelly McDonald is gracious as the mysterious but steely Gina.
The film is shot in (literally) cool locations and makes a fantastic ad for the chilled aloofness that is Reykjavik.
But at the heart of this love story are the nameless, faceless millions who suffer daily and the ease with which this fact is taken as statistic. Africa has never before been on the forefront of social issues as it is today and to anyone who might be under the impression that poverty is an issue for politicians to sort out around the conference table, 'The Girl in the Cafe' is a potent reminder that the power to affect change is more immediate than we might think. Superb.
Make Poverty History
"Isidingo" is still a fairly young show but has grown from strength to strength and continues to be compelling viewing.
It is billed as a soap opera because it airs daily at the accepted soap opera slot (5pm-7pm) but it is so much more. It is one of the few TV shows in the history of SA that has been able to keep itself connected with the real world. There is none of the fake, Americanised drama that has become the staple of most S. African soaps like "Egoli", "Generations" and the worst of them all, "Backstage". Where these shows aim to scandalise every development in the plot and fall into typical and conventional soap opera narrative modes, "Isidingo" is humorous, emotional, current and very, very real. The stories tell of 'real' lives (in the loosest sense) and never become overblown or tired.
"Isidingo" will perhaps be best known as the show that killed off nearly half its cast in a strange and still-unsolved family murder in the first 2 months of its broadcast.
Through great writing (and even greater acting) "Isidingo" has proved itself to be original, fresh and always relevant. The story lines are atypical of the soap opera genre and continue to twist and turn, often leaving the viewer breathless and intrigued. A case in point is the death of Duncan Haines at the hands of his former lover and step-mother Cherel de Villiers-Haines. It was a plot development no-one expected and one that still threatens to bring uber-bitch Cherel down once her husband, Barker finds out about it, which no doubt he soon will.
But there is so much more to Isidingo. From topical issues such as affirmative action, domestic abuse and (of course) racism, Isidingo tackles every storyline with integrity and class, and a degree of dark comedy which is something which usually translates as farce on South African TV (see 7de Laan). But here it resonates as a true and heartfelt depiction of life in a country with a bright future but constantly having to grapple with issues of our dark past.
It is billed as a soap opera because it airs daily at the accepted soap opera slot (5pm-7pm) but it is so much more. It is one of the few TV shows in the history of SA that has been able to keep itself connected with the real world. There is none of the fake, Americanised drama that has become the staple of most S. African soaps like "Egoli", "Generations" and the worst of them all, "Backstage". Where these shows aim to scandalise every development in the plot and fall into typical and conventional soap opera narrative modes, "Isidingo" is humorous, emotional, current and very, very real. The stories tell of 'real' lives (in the loosest sense) and never become overblown or tired.
"Isidingo" will perhaps be best known as the show that killed off nearly half its cast in a strange and still-unsolved family murder in the first 2 months of its broadcast.
Through great writing (and even greater acting) "Isidingo" has proved itself to be original, fresh and always relevant. The story lines are atypical of the soap opera genre and continue to twist and turn, often leaving the viewer breathless and intrigued. A case in point is the death of Duncan Haines at the hands of his former lover and step-mother Cherel de Villiers-Haines. It was a plot development no-one expected and one that still threatens to bring uber-bitch Cherel down once her husband, Barker finds out about it, which no doubt he soon will.
But there is so much more to Isidingo. From topical issues such as affirmative action, domestic abuse and (of course) racism, Isidingo tackles every storyline with integrity and class, and a degree of dark comedy which is something which usually translates as farce on South African TV (see 7de Laan). But here it resonates as a true and heartfelt depiction of life in a country with a bright future but constantly having to grapple with issues of our dark past.
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