Para o Resto de Nossas Vidas

...If you don't believe me, you can hunt up a 1983 book called "Footlights: One Hundred Years Of Cambridge Comedy" which is the history of the Footlights amateur theatrical society at Cambridge- whose alumni have included since the 1950s most of the auteurs of post-music hall English comedy.

Footlights revues since 1960 have included the casts of Beyond The Fringe (Jonathan Miller, Dudley Moore, Peter Cook and Alan Bennett), Monty Python (all of them), The Goodies (Graeme Garden, Bill Oddie and Tim Brooke-Taylor), Alas Smith And Jones, and Douglas Adams (Hitch-Hiker's Guide To The Galaxy).

In 1981 the Footlights mounted an Edinburgh Fringe Festival show called The Cellar Tapes, whose cast included...Stephen Fry, Hugh Laurie, Emma Thompson, and Tony Slattery!

The Cellar Tapes show won the Fringe's Perrier Award and pretty much guaranteed everyone jobs for life in British TV and film. The scene of them at school doing an amateur theatrical show for the university dons is a reference to this, supposedly.

Of the film, despite an interesting concept, some good moments and a talented cast I found this film disjointed, emotionally cold, only rarely witty, and even faintly unbelievable at times --the scene where Thompson breaks down and cries is so reserved and smug it's like she can never really let go- which she never does in anything she's in anyway!

It's rather as if they want to thinly satirize themselves- but only thinly, as if they take themselves too seriously to open themselves to self-mockery. For a better take on this concept, I recommend the 1998 film "Final Cut" starring Jude Law which has the current mob of Britpack actors playing themselves in an improvised film-- often times for laughs.

It's amazing how far Branagh's star has fallen since 1992 when he was The Olivier People Actually Liked. I guess some people really do peak early- he did the movie of Henry V (and wrote his autobiography) when he was 26! Since then?....Anyone?...Bueller?

When I first watched Peter's Friends, I was seventeen years old, still young and unexperienced. I wouldn't say that the five years since then have made me some sort of oracle, but I have made a few mistakes and also a lot of good choices. And even more, I am able to relate to the story that Kenneth Branagh's wonderful alternative to It's A Wonderful Life as a holiday film.

Today it makes me laugh. It makes me embarrassed. It evokes so many feelings that are pivotal for the human spirit, so many things that are universal. If you have friends, or if you've lost them, or if you've met any people at all in your life, you will be able to relate to the six friends in Peter's Friends. What the heck, you only have to be human to relate to it.

No other movie speaks so truly about us as human beings and how we behave in small social groups. Food for thought, but also for heart.

Really, this is a great flick. Especially if you go for British comedy. Rita Rudner's writing is just fantastic. I caught this in the theatres by chance and loved it--and bought it as soon as it became available on video.

Since this is just commentary, I'm not going to get into the plot any--I'll just toss in my 2 cents.

In the Maltin Review, he mentions that many consider this a British "Big Chill". In a way, I can see that, but where the "Big Chill" focuses on how much the characters have changed since college, "Peter's Friend's" does a good job of showing how the characters really HAVEN'T changed since then. They have matured, but the root of who they are--their faults, strengths, and weaknesses--are still the same.

The wit flows, the humor can be obvious as well as understated, the interplay between the actors is simply sublime, and the overall feel is fun and warm. I've seen many of these actors together in other films and they're all first rate. Just because Emma Thompson is the only one to win an Oscar doesn't mean the others are slackers!!

The one thing I've had to accept, though, is that in 7 years, it has become dated--especially the reason why Peter decides to bring his old college buddies together. That last scene packed a much bigger punch in 1992 than it could in 1999. Not that the issues are any less significant now, just that, as a culture, we're more accustomed to the subject. (And I won't spoil it--if you want to know what the subject is, rent the movie! *grin*)

Also, the soundtrack is fabulous! And I'd say it's worth the price of a rental for those who "came of age" in the 80's just to watch the opening montage: The highlights of the 80's set to "Everybody Wants to Rule the World". Fantastically done.

Rent it and enjoy!!

Film starts off on New Years Eve 1982 with a collegiate musical troupe giving their final bad performance. It cuts to 1992 where one of them named Peter (Stephen Fry) invites the whole group to his remote English castle for a New Years Eve party. We have the Andersons--Roger (Hugh Laurie) and Mary (Imelda Staunton). They've lost a child and she lives in fear that they'll lose the other. Then there's Maggie (Emma Thompson) who's madly in love with Peter. There's Sarah (Alphonsia Emmanuel) a sexually active woman who brings along her man of the moment (Tony Slattery). And there's Andrew (Kenneth Branagh) who's unhappily married to TV star Carol (Rita Rudner).

This was called a rip off of "The Big Chill". It is, but it's well-made with a great cast, a wonderful script and is totally involving. This is one of the few movies that mixes drama and laughs and both work beautifully. It was also shot (I believe) on location in England and the setting itself is just incredible. All the acting is good across the board. Rudner is a delight (and has the best lines). Emmanuel sometimes overdoes her role but not enough to damage the film. Dramatic, witty, warm--basically a great comedy drama well worth catching.

"Did you ever see "Upstairs Downstairs"?"

Good, solid drama in the best British style, replete with witty dialogues, more or less a showcase for Kenneth Branagh to bestow upon us something that is not in the least Shakespearian. Nicely-paced development lets the principal characters ease their way into the proceedings in an orchestrated way, such that there is a fine balance in screen presence as well as in the interwoven combinations of the players from scene to scene, very much in the straight theatre tradition. Therein lies a possible weakness: the film has a straight-jacket feel to it, as though indeed it was too severely and strictly transposed from the stage to the screen.

Very much in the vein of a `battle of the sexes', we have in `Peter's Friends' several couples meeting some years after graduating, supposedly to remember old times. I rather fancy that the ladies win this battle by a slight margin, as the performances by Imelda Staunton, Emma Thompson and Alphonsia Emmanuel manage to pull off a finely-tuned upper-hand over the gentlemen.

This is about the third time I have seen this film - and will doubtlessly see it again. However, having recently seen `Gosford Park' a couple of times, I cannot help marrying up the two films - and thus falling into the trap of comparing them. `Gosford Park' comes out clearly the winner: Altman's masterpiece.