Um Bom Ano

A Good Year is much like Peter Mayle's other books – shortish, picturesque, sometimes mouthwatering, generally light and definitely charming.

To that end, this film does the book excellent justice and even manages to make the cinematic transition without losing or adding much in the process. (Max has however become a blend of Wall Street's Gordon Gecco and Capt. Aubrey – a cold power hungry cut-throat exterior with a bit of a romantic hedonist hiding a Depardieu-like charming buffoon locked inside.) Sir Ridley Scott makes it clear that the real star here is the Provencal countryside in all of its golden sun soaked glory. Russell is the fulcrum that moves us from one beautiful scene to the next, lightly shuffling and dancing in over-sized pajamas with a suit jacket and a tie for a belt.

And oddly, this isn't necessarily a bad thing.

As obvious as the story line is (both in the book and the film) it remains absolutely charming and Crowe's performance is an essential part of what makes it work, hammy or no. He looks great and his trust in Scott as a director allows him to simply have fun here – a nice break from all of the heavy (and often heavy handed) Oscar bait bio-pics he's pigeonholed himself into recently.

The rest of the cast is picture perfect. I've been waiting to see when Freddie Highmore would play a young Russell and he's lovely here, big eyed and gracefully gawky as young Max. He holds his own against Albert Finney's lovingly blustery Uncle Henry. Marion Cotillard is gorgeous as Fanny and also sturdy enough to hold her own against both Max and Crowe himself. Abbie Cornish is pretty and sweet and her American accent is damn near perfect. Isabelle Candelier is a colorful counterpoint to Max's stuffy British ways, but it is Didier Bourdon who nearly walks away with the picture. His is a character we haven't seen done a million times before and whose eyes hint at a story equal in richness to the Château itself. Archie Panjabi is Max's assistant, a character created for the film. As the all knowing and mischievously wicked Gemma she appears ready to run away with this picture. (And as always watch for a cameo by Ridley Scott's longtime partner Gianina Facio – I won't spoil your fun by telling you where she appears.) Again, there is nothing new or groundbreaking here. It will be compared to Under the Tuscan Sun and a long history of countless other films of this nature – an attractive woman or handsome bastard gets in touch with who they really are, gets back to basics and becomes who they were always meant to be.

Forgive me for taking this path, but the wine/film comparisons are inevitable with this one.

Like most of the films made today the fresh elements in this film come from the particular vision of the film maker, the chemistry of the cast and the way all of it can come together in a charming and palatable fashion. In other words, the blending of the key ingredient's.

It all comes down to being a matter of chemistry, craftsmanship and preference. Chemistry causes the grape to ferment and become wine. Craftmanship and experience make that wine something worth drinking. Chemistry amongst the elements of a film – story, cast and setting makes these pieces form a cohesive whole. Craftsmanship and experience make it a palatable film.

And the rest is simply a matter of taste.

Though it lacks the crisp originality of a sauvignon blanc, the hipness of a pinot grigio or the bold edginess of a Cabernet, but the elements here come together to make a film that plays pleasantly over the tongue like a decent rose – easy to sip and enjoy and given the chance could well leave you with the warm glow of a late summer afternoon.

But enough with the wine clichés! You could easily take advantage of the value of a matinée or opt to wait for DVD, though neither will do the scenery justice. This sweetly charming film will hold up equally well as a date movie, a mid week escape or something that you can take Mom to.

Worth a look.

-Roo's Reviews

I have to admit this 2006 movie based on the book by Peter Mayle (whose "A Year in Provence" is a favorite of mine) starts rather unpromisingly since it carries the same smug, self-satisfied attitude that its hero has. Director Ridley Scott takes a while to find the right rhythm for this romantic comedy, but he eventually does, even if it means recycling elements from other similarly executed fish-out-of-water films like "Baby Boom", "Lost in Translation" and "Under the Tuscan Sun". In fact, the whole venture feels decidedly old-fashioned with formula elements feeling like they come from some Universal film made in the 1960's, but the retro-chic aspect somehow works like a fictionalized account of a lifestyle cable channel program since there is little in the way of real dramatic conflict.

Atypically cast in a lighter vein here, the naturally pugnacious Russell Crowe seems to be channeling one of the Grants (Cary or Hugh, take your pick) in portraying a Machiavellian-level London investment banker named Max Skinner, who unexpectedly inherits a dilapidated château and vineyard in Provence from his uncle Henry, a figure he loved as a child but has since become estranged due to Max's selfish, greed-obsessed existence. Written by Marc Klein, the bulk of the movie is about what Max does with the estate as he argues with the longtime vintner and becomes entwined with two women - pretty Christie, who claims to be Henry's illegitimate daughter from a tryst with an American, and the too-perfectly-named Fanny Chanel, a beautiful local restaurateur who tries mightily to resist Max's romantic overtures after a most bumpy start. As Max weighs his options, his unforgiving career and jet-setting lifestyle back in London appear to be in jeopardy.

More like a Cagney than a Grant, Crowe has the type of aggressive screen persona that takes on all comers, so he seems more in his element being a jerk. However, he acquits himself more than you would expect as the story begins to humanize his character, and he is more deft as a comic actor than even Scott presumes. For example, there are extended sequences in an empty swimming pool and during a tennis match when Scott seems to mistake action for slapstick. Max may be Crowe's most likable role since the loving gay son he played in the 1994 Australian indie, "The Sum of Us". In flashbacks, Freddie Highmore, Johnny Depp's protégé in "Finding Neverland" and "Charlie and the Chocolate Factory", affectingly plays Max as a child, even though the lack of physical resemblance is a bit jarring. Better is Albert Finney as rhapsodizing Uncle Henry since his casting hearkens back to the actor's youth in south-of-France-set movies like "Two for the Road" and "The Picasso Summer" in the late sixties.

Australian actress Abbie Cornish convincingly portrays a guileless American with more than a passing interest in wine, while Marion Cotillard is a stunning, feisty presence as Fanny (although the obvious age disparity between her and Crowe makes some of the back story a bit of a head scratch). Entertaining though more standard rom-com contributions are made by Tom Hollander as Max's realtor best friend Charlie (in an update of the usual Gig Young third-wheel role), Didier Bourdon and Isabelle Candelier as caretaker Duflot and his playful wife, and Archie Panjabi as Max's jaded but devoted assistant Gemma. The wine-growing region of Provence hardly needs more exposure in movies, but Philippe Le Sourd's cinematography brings it glowingly to life. A most idiosyncratic soundtrack accompanies the film with genre-irrelevant chestnuts like Patti Page's "Old Cape Cod", Harry Nilsson's "Gotta Get Up" and a French cover of "Yellow Polka-Dot Bikini" by Richard Anthony. This is the kind of movie where you can see the ending a mile away, but I have to say for the most part, I enjoyed the ride.

I enjoyed this movie, it had class and character with some lovely ladies. Also I enjoyed the London footage with the contrast against France. Crowe, I think did very well and I was surprised at the end because I didn't now it was a Ridley Scott movie. It would now be interesting to read the book to see how closely it is represented. All things seemed to fit, and it was evident in last encounter with Crowe and his French girl from the scene of when he was a boy at the pool. Great romantic portrayal of an English French relationship. The movie also maintained a good level of humour encased with good vocabulary. I had heard this was a good movie and am glad to able to cement that in words.

Who wouldn't want an uncle that left them a vineyard in Provence? Why would anyone have to think twice about a life of sipping wine and Marion Cotillard, who looked her real beautiful self, and not the character she portrayed in La Vie en rose? But, Russell Crowe was making this choice and provided an enjoyable romantic comedy about a successful trader that inherits a château in France. Crowe provided just the right touch in this film. The comedy was subtle and not overdone had they cast someone like Hugh Grant for the lead. The magic with Cotillard could not have been done with anyone else either.

I had heard some criticism of this film and was wary, but I was mildly surprised at just how enjoyable it was. Of course, Albert Finney added to that enjoyment, and the enchanting Archie Panjabi as Gemmy, but none so much as Cotillard.

This is definitely the first time I have gone to see an Russell Crowe and/or Ridley Scott film at the cinema, fully bracing myself to be disappointed and...

I am very pleased to be able to say that I enjoyed it thoroughly. It has a very warming glow to it - beautifully played; gorgeously shot. Anyone who isn't just a little bit seduced by Provence after seeing it needs their head (or more likely their heart) examining. The lessons may well have been taught in a hundred films before, but that doesn't make them any less relevant or resonant for the commercial era in which many of us now live...

So, why the terrible reviews? I really don't know. The comedy was not overplayed in the way implied by the critics at all. To be blunt, it was not really necessary, as the warmth and effectiveness of the film and story lies in the romantic drama. The comedy is fine, but doesn't really add anything to the film. However, it does give it a very upbeat, cheerful and likable feel and maybe that is reason enough.

Max's character and Russell Crowe's performance? It's in the quieter moments where Crowe really excels and shows just why someone would want to cast him, as opposed to say Hugh Grant, in a film like this. His reactions to memories and the things that other characters do and say are just so much deeper and more real than Grant is capable of: which is why Grant always comes off as the same character in these films (a variation on the Grant formula) and Max comes off as real.

It almost seems as though the critics have a film with this plot pegged into a box: because they can only see (and can only expect to see) a Hugh Grant characterisation, they cannot accept anything other than a Hugh Grant characterisation. Whereas the actual reason that Crowe doesn't come off as Hugh Grant is because he isn't channelling that kind of characterisation at all. This is a very different kind of film.

Also, the critics seem to be completely off the mark in assessing the character, when they say that he starts off a bastard and ends a bastard too. Actually, this is far more about unearthing other qualities - not completely rejecting those 'bastard' qualities that he begins the film with, but refining and diluting them, as he becomes more and more adjusted to his past. He doesn't change, he opens his heart and mind to qualities that he has been ignoring within himself. You can see that other Max from the moment he opens the letter telling him Henry is dead - but he tries to resist the feelings that are clearly there, in large part because he doesn't want to face the fact that he has let his Uncle down - and all of the guilt that is allied with that.

The film is not the best film I have ever seen. The questions it asks are fairly fundamental, but they aren't startling or especially thought provoking.

But the film is highly enjoyable, from start to finish; and it's warm, something that is pretty rare in films these days.

So, to end, clearly I am not in tune with the critics - but then, increasingly that seems to be the case nowadays. I just think that I see completely different films to them...