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"The Last September" tells of the beginning of the end of the Anglo-Irish, circa 1920ish, in Cork, Ireland by examining the clockworks of one family of privilege surrounded by rebellion, on the cusp of degentrification, and trying to keep a stiff upper lip in the face of waning denial. Beautifully filmed and visually delightful, this film sports a wonderful cast who deliver finely nuanced performances. Unfortunately the subject matter is somewhat esoteric, the story meager, and the film burrows into the moment to moment minutia; something which is both it's strength and its weakness. Those who don't get the Brits should pass on this flick. Those who do, may be enthralled by it. I know I was. (B)

The narrative is a mess but there are many fine visuals and isolated moments of deep emotional intensity. Michael Gambon and Maggie Smith were excellent, but Jane Birkin and Fiona Shaw have some of the most powerful scenes, with their relationship problems seeming to amplify the dislocation all the characters are feeling, Irish but not Irish, English but not English. However, it is Keely Hawes' intense performance as Lois that held the movie together for me, with her coming of age, and the relationship choices she must make, personalizing the larger conflict between English and Irish that the film wants to illuminate.

This is director Deborah Warner's first film (she's an experienced stage director) and I feel she relied too much on her cinematographer, Slavomir Idziak. He did a very fine job with the landscapes and interiors, but there are too many gratuitous camera tricks and heavy-handed visual cues that don't contribute anything to the story or it's impact. Overall, worth seeing for the performances and questions of national identity it raises. The interviews with Fiona Shaw and Deborah Warner on the DVD are also worth a look.

The story is convoluted. But the strength (and the JOY) of this film is the manner in which it has so genuinely captured an era and a place, the Ireland of 1920. The camera work is unique. It came as no surprise to see that the director is a woman. Deborah Warner brings a soft and compassionate understanding to her subject which would be beyond a male. Her framing, her angles, her pacing are all perfection. She gets everything out of her actors. Maggie Smith never has been better. This is a fine and memorable film in which the story is really less important than the dream like images that support it. It's artistry.

Not everyone is familiar with the unique place of the Anglo-Irish in Ireland, and some of my companions expressed trouble following who was who, and how were they related. It took a while to get past this, I suppose. But the film itself is a compelling story of conflicting loyalties, misunderstood motives, and troublesome times. The juxtaposition of dinner parties and political violence was perfectly done. One of the most interesting "period pieces" I've seen, and of course, it's worth the price just to see Maggie Smith again.

In a movie that might win the award for "most Harry Potter cast members in one movie", The Last September features Maggie Smith, Michael Gambon, David Tennant, and Fiona Shaw. The setting is a weekend gathering of family and friends in 1920s Ireland. Maggie and Michael, the host and hostess, are determined to keep the peace and get through the weekend with dignity, since it's clear English and Irish tensions are going to soon ruin their idyllic lifestyle. Their wayward niece, Keeley Hawes, seems to be balancing between an extremely awkward love triangle and the edge of acceptable behavior. She frolics in the forest, dances and flails her arms around wildly at random moments, and feels free to say anything on her mind. While this is arguable not acceptable behavior today, it certainly wasn't in the 1920s. I didn't like Keeley's character, but I'm pretty sure you weren't supposed to. She wanders off to flirt around with a creepy guy in a cave and breaks respectable soldier David Tennant's heart. And she doesn't seem to have any clue as to the damage she leaves in her wake.

For me, the highlight was seeing Fiona Shaw in such a different role. Full of class and propriety, she was also alluring and fun - but by the standards of 1920, not today. She didn't try to prove a point to get through to modern audiences; she was completely transplanted into the time period. She wore some great expressions on her face, full of thoughts she couldn't say, and she didn't overplay it because she knew she was in front of the camera.

All in all, I'm not sure why this movie was made. It wasn't really enjoyable, and the characters weren't given enough backstory to really root for them. If you like these types of period pieces, beware: this one is dark and a little violent. It's not Downton Abbey.

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. Several times when Keeley Hawes prances around in the forest, the camera spins around in a circle, and that will make you sick. In other words, "Don't Look, Mom!"

Kiddy Warning: Obviously, you have control over your own children. However, due to violence, I wouldn't let my kids watch it. Also, there may or may not be a rape scene.

A family of British aristocrats living in County Cork finds their comfortable lifestyle threatened by the Irish rebellions of the 1920s, when the headstrong older daughter develops a fatal attraction for a notorious local patriot (i.e. terrorist) with a price on his head.

This won't be the last film to dissect the bloodlust lurking just beneath the glacial politeness of upper-crust British manners, but the perceptive screenplay (adapted from a novel by Elizabeth Bowen) shows an unbiased lack of sympathy for either side of the conflict. Deborah Warner makes an easy transition from a theater background for her feature film debut, directing a first-rate cast (including Michael Gambon, Maggie Smith, and Fiona Shaw) with impressive, understated visual flair and an eye for the telling detail. The specific Anglo-Irish perspective could make the film a tough sell to American moviegoers unschooled in the social/political snake pit of Emerald Isle antipathy (here placed into an intriguing, almost tribal context), which may explain why the promotional trailers make it look like any other romantic melodrama in funny period dress. It's a misrepresentation likely to alienate the film's target audience, but discerning viewers should find plenty here to provoke their thoughts.

"The Last September" is set in County Cork, Ireland in 1920, just prior to the institution of the Irish Free State, the days of Michael Collins. (Mr. Collins and the other scions of the revolution are notably absent in this film.) The view of the film is narrowed to the trials and tribulations of Anglo-Irish aristocrats, and friends, who inhabit their country manor on their last Summer holiday in colonial Cork.

The film's strength is its microscopic cinematic views of the lives of the aristocrats and their guests. The filming is rich and startling. Small distracted moments are captured with amazing effect. Reflections in picture frame glass and windows are very compelling. The viewer is sometimes made an involuntary voyeur. This created a discomfort, an edge, for me.

Sometimes Gothic, sometimes just frustratingly slow, the film's moods are overpowering. I felt like I had been made one of the aristocratic "tribe", as they call themselves. I could experience their self restraint and quit desperation at times. I found myself twisting in my seat at these moments.

Lois, played marvelously by Keeley Hawes, reminded me of Lucy Harmon in Bertolucci's "Stealing Beauty", as played marvelously by Liv Tyler. The film has trouble staying focused on her. Perhaps this is to be expected, since she represents the

elusive True Spirit of the Irish, conflicted about passion and pride, freedom and violence. Fiona Shaw captures in her character what Lois must become. The relationship between the two women is a painfully powerful representation of the Death of Self at the hands of conventions, the consequences of classism, sexism and tribalism.

The handling of the the other characters seemed cursory and prone to stereotyping. Michael Gambon and Maggie Smith did the work and turned the coal of potentially predictable rich 'county' types to diamonds of lovably faceted eccentrics.

The film is not easy. The time did not fly by. There were many laughs. There were many stunning visual and emotional moments. I guess it was like life itself, in a particular place and time.

Empty headed precis of a middle brow novel. Lots of "fine acting" and an Antiques Roadshow design aesthetic is supposed to compensate for its total lack of emotional or intellectual content and its narrative illiteracy. Manages to be both finicky and slapdash at the same time. Pants.

Having tried to read the novel on which this movie was based and not enjoyed doing so all that much, this film was an unexpected delight. While Bowen's style is often tedious, Banville's adaptation moves along at a sprightly pace that belies it's tragic, Chekovian subject matter. Like BBC's Persuasion and Vanity Fair, this film tries to rescue the period adaptation from the asphixiating clutches of Merchant-Ivory while retaing a large degree of textual integrity. Banvill, who brought the Irish "Big House" novel into the postmodern era with _Birchwood_ brings a contemporary eye to this tale of Anglo-Irish Aristocrats in the Last Days of their tenure. It's wonderfully acted, with Jane Birkin giving the sort of display of gap-toothed Anglo-Saxon diffidence that made _La Belle Noisuise_ tolerable; Maggie Smith doing her usual indignant aristocrat, Fiona Shaw playing Fiona Shaw, and Micheal Gambon thankfully playing an Anglo-Irish rather than Irish character. It's a film that anyone with a casual interest in Irish history will be enlightened by and one that anyone with an eye for beauty will be delighted by.

This movie reminded me of Howard's End. Though Howard's End was much easier to follow, and there were beautiful scenes, it was very boring. In Late September, it was very hard to tell who was related to who and the plot was unrecognizable through the first half of the movie where we suffer through the prattle of supposed problems of the rich. The last half of the movie was more interesting but the ending just trailed off. Some sexuality, one brief, partial nude scene. From 1-10, I rank it as a 3.

I should have guessed what this film would be like from a couple of hecklers at the cinema I saw it.

"I've seen milk turn quicker than this". And this was only during the opening credits. They left soon after. I should have too.

All I can say about this film is a perfect cure for insomnia...show this to a chronic insomniac and they will be out like a light in a couple of minutes.

An A-list cast should have turned out something much more interesting than this bore-fest. Thank god I haven't read the book...

Absorbing screen play. Not easy, not especially familiar to many of us but extremely thought-provoking, given the Anglo-Irish theme and the time in which the film is set. An excellent cast led by the magnificent Maggie Smith who simply oozes condescension, snobbery, class-ism and caste-ism, while displaying genuine affection for 'her own kind of people'. The setting of faded yet comfortable gentility is just right and the inclusion of down-on-their-luck relatives rings true also. Keely Hawes creates the right air of fragility, self-absorption and feyness. Her scenes with the admirable Fiona Shaw are powerful and reflect her dawning sense of self and of a desperation to escape, as the story unfolds. And David Tennant? Heartbreakingly real as the young would-be lover and army officer. What a very fine actor he is, despite a rather anaemic and quite unnecessary moustache. So good too to see the excellent Richard Roxburgh, playing Tennant's best pal in the army.

In summary, a film that is worth making the effort to see and to mull over. An auspicious beginning for Deborah Warner.

This is the only feature film directed by the well-known London theatre director, Deborah Warner. It is a pity she has not made more. She has a wonderful feeling for mood and atmosphere, and this film is soaked in it. The story is from a novel by Elizabeth Bowen and concerns the landed gentry known as Anglo-Irish who once inhabited grand mansions in southern Ireland (Eire) until the Troubles, when most of the mansions were burnt down (a great loss to architecture) by the 'republicans'. The film centres upon the great house and grounds of the Naylor family, and does not deal with the larger picture in Ireland. The remarkable Keeley Hawes starred in this film just before appearing in WIVES AND DAUGHTERS (1999, see my review), and as she began acting on television at the age of 13, she was already a trooper by this time, aged 23. There is no doubt that Hawes has always been, and continues to be a most impressive actress, as she proves once again here. In the story, the beautiful and skittish young Hawes has known since childhood a sinister young man who has now become an IRA killer, and she helps to conceal him in a local ruin, bringing him food and comfort. She does this despite knowing that he has just killed someone, fascinated by the evil of him and feeling no compunction because she likes the thrill and finds him sensually exciting. She lives with her aunt and uncle. The uncle is played with his usual expansive flair and mellifluous voice by Michael Gambon, while the aunt is played by Maggie Smith, who adds her lustre as always. An unexpected intrusion into the story is a visiting woman played by Jane Birkin, who adds a mysterious presence. An especially fine performance is given by Fiona Shaw, who effortlessly dominates scenes when she is in them. As Ireland and the characters of the story hurtle towards tragedy, we see a true 'end of an era', filmed on location in one beautiful rambling old house which seems to have avoided destruction. As visions of lost worlds go, this is a fine one, and the story is absorbing and beautifully filmed. The costumes were by John Bright personally, not just by his firm Cosprop. I remember him well from when he was just beginning, way back when, in yet another lost era called the sixties. The music is by Zbigniew Preisner, and is therefore highly superior, as is his wont. The film had no less than eleven producers, so many that they outnumber the main players in the cast. One is reminded of the 'Irish joke' which asks how many Irishmen it takes to change a light bulb. Never mind, wars can still be won when there are too many generals, as long as there is a good director on hand. This film deserves much more attention than it has had, and is a truly wonderful evocation of a time and place now lost in history.

I just saw THE LAST SEPTEMBER at the Montreal International Film Fest. An incredible cast in an incredible film - what else can I say? MAGGIE SMITH is amazing (is she ever not? I DON'T THINK SO!) and the rest of the cast, Michael Gambon, Fiona Shaw and a whole bunch of other people are simply wonderful as well. Beautifully filmed, music was GREAT. I will definitely see this film again and again...

A great great film on many levels. As always, Maggie Smith turns in an amazing performance, as she has consistently done so throughout her career. Jane Birkin, Fiona Shaw and Michael Gambon also are wonderful to watch. The story itself is quite moving and engaging. Beautifully filmed and scored.

If you're fond of British costume dramas like "Wives and Daughters" or "Downton Abbey," then this won't be the first time you've seen Michael Gambon as the dithery country squire or, God knows, Maggie Smith as the sharp-tongued lady of the manor or even Keeley Hawes as the out-of-control ingenue that's got everyone so worried about her. This time the setting's a little different—a rural estate in County Cork in 1920, about halfway through the Irish struggle for independence. Other big names in Anglo-Irish drama and letters are involved (novelist Elizabeth Bowen, director Deborah Warner, actress Fiona Shaw, who plays a witchy houseguest), plus 80s fashion icon Jane Birkin in a minor role and a couple of artful Kieslowski cronies as cinematographer and composer. The plot's a bit creaky—KH's character is being courted by an eager British officer, but soon discovers that a childhood friend, now a fugitive IRA gunman, is lurking on the grounds—and the pacing in the opening scenes is suitably Chekhovian, but the resolution is fast and furious, even a bit confusing at one point (how does Peter get away?). Though I'm not sure this prestige project quite adds up to the sum of its parts, we still found it fascinating, and we've watched it on streaming Netflix a couple of times. Film buffs (and home furnishing buffs!) might prefer to send for the DVD to get the full effect of the production values, and the sound levels on streaming are erratic.