The Sense of an Ending

The English film The Sense of an Ending (2017) was directed by Ritesh Batra. This excellent movie has an all-star cast. Jim Broadbent portrays Tony Webster, a divorced man who is technically retired, but who runs a camera repair shop that specializes in Leica cameras. Dame Harriet Walter plays Margaret Webster, his divorced wife. They have a grown daughter Susie (Michelle Dockery) who is a pregnant, partner-less lesbian. Charlotte Rampling plays Veronica Ford. She holds a secret that is the key to a critical moment in Tony's life that took place 50 years earlier.

Jim Broadbent is one of the greatest actors of the late 20th and early 21st Century. I've seen him in many films, and he always inhabits his role as if he were, indeed, that person. Dame Margaret Webster is a fine actor, and has appeared in dozens of movies and made-for-TV specials. However, I think the only time I've seen her on screen was as the vile Fanny Dashwood in Sense and Sensibility (1995). She does a highly professional job as a embittered woman, whose life is absorbed by her business interests.

Michelle Dockery looks as if she just changed costumes and walked into this movie from Downton Abbey. She is always angry and depressed. For the record, her part is small and non-central in this film. I think she wants to broaden her range, but that didn't happen here. Could she ever star in a comedy?

Charlotte Rampling was one of the most beautiful women in movies. At age 70, she still is one of the most beautiful women in movies. She is not only beautiful, but she is a consummate actor who is made for this role.

This film is complicated. About 75% of it takes place in present time, and about 20% takes place in flashback. (The other 5% are dream and imaginary scenes, when the present enters into the past.) You'll have to pay close attention or you'll miss the point. In fact, during the middle of the film, I missed the point. However, towards the end, it all came together and made sense.

(Incidentally, there's a tedious sequence in the beginning, when Tony gets a certified letter, and he almost opens it, then he sort of opens it, then he opens it and doesn't read it, and finally, finally reads it. The letters starts off the entire plot, so he needs to read it, and we need to know what it says. That's the only weak part of the movie.)

We saw this film at the excellent Little Theatre in Rochester, NY. Even though it's meant to be seen on the large screen, it will work well on the small screen. This movie has a ridiculously low IMDb rating of 6.5. It's much better than that. This is one of those ratings that you have to ignore. Don't miss this movie just because it's rated so low.

P.S. Relevant to The Sense of an Ending: The Moving Finger writes; and, having writ, Moves on: nor all thy Piety nor Wit. Shall lure it back to cancel half a Line, Nor all thy Tears wash out a Word of it." From the Rubaiyat of Omar Khayyam.

Rhitesh Batra's film 'The Sense of an Ending' is based on a Booker-prize winning novel by Julian Barnes. Oddly, I've read almost the entirity of Barnes's oevre, but nor this work, which tells of an old man suddenly reconnected to his distant past. His enthusiasm for revisiting his old life might partly be due to his present-day loneliness, and partly due to his own capacity for re-imagining his history through a lense of nostalgia and heroism (indeed, his self-justifying self-absorption goes a long way to explaining exactly why is he now alone). So he begins a journey that will take him to uncomfortable and unexpected places. But in the film, the character (played by Jim Broadbent, possibly not the optimal choice for the role) is so obviously bumptious and narcicisstic that our sense of shock is undermined; he learns things about himself (in the specific) that were (in the general) already obvious to us. Another limitation is that although the adult characters are fully formed (and the two female leads in particular are well realised), their younger selves (who appear in flashback) remain thin and weakly sketched. I still quite enjoyed the movie; but it made we want to read the book where I suspect Barnes might have managed things better.

The movie, adapted from a slim novel by Julian Barnes, is a tale of memory, guilt and regret. At the centre of the story is Tom, a divorced man in his late 60s, who leads a life of oppressive sameness. He receives a letter from a solicitor and Tom's routine is interrupted.

From flashbacks to the 1960s, we learn he was involved with a lass called Veronica and met Adrian, a charismatic student. A thoughtless act leads to, or may not have led to, tragedy.

How much of Tom's history (shown in the flashbacks) is true and how much is a distortion of his memory, is open to question.

Meanwhile, Tom's life in the present continues. His daughter is close to giving birth which means regular meetings with his former wife. This gives Tom an opportunity to discuss the past. By staying alert and listening in to the conversations closely and watching the flashbacks carefully, clues emerge for us to discern the truth.

Six fellow film fans and I saw the movie together and met for lunch afterwards. Our interpretations differed. An indication that we'd seen an exceptional film.

There were things we agreed on: the ensemble cast was outstanding; the editing was first-rate; the music unobtrusive; and the director's touch admirable.

Various actions of the major characters and possible actions not actually shown on screen were raised and analysed with the results agreed to by some, rejected by others.

It's not a film for everyone … but for those who enjoy a movie where clues are given but interpretations are left to the viewer, this one's for you.

It's a movie that stays with you for days.

We all reminisce. Older people have more to mull over than their younger counterparts, but we all do it. To what extent are our memories accurate representations of what actually happened? And how do the things that we forget, choose to leave out or just misremember affect how we view our past – and our present? These are the kind of questions the British drama "The Sense of Ending" (PG-13, 1:48) so eloquently and engagingly poses. Based on the 2011 novel of the same name by famed British author Julian Barnes (who won the prestigious Man Booker Prize for the book), this film has the potential to entertain all Movie Fans – and give them plenty to think about, regardless where they are in their lives, but those contemplations will vary depending on the stage of life they occupy at the moment.

Tony Webster (Jim Broadbent) is a disagreeable, semi-retired 70-something curmudgeon living in London. He used to make his living as a doctor, but now he owns a small vintage camera shop. Tony is long divorced from Margaret Webster (Harriet Walker), but they remain quite friendly, mutually supporting their pregnant single daughter, Susie (Michelle Dockery from TV's "Downton Abbey"), and sometimes meeting to discuss their lives over a spot of tea. Obviously comfortable (if not entirely happy) living out the narrative of his life (as he sees it), Tony is about to be shaken out of his complacency.

Dr. Webster receives a letter informing him that he has been bequeathed an old diary by the recently departed mother of his college girlfriend. Questions abound. Tony wants to know whose diary it is. When he tells his ex-wife about the letter, she's curious why the mother of a long-lost love would be leaving him anything in her will. As Tony struggles with the family's lawyer to get his hands on the diary (or at least get some answers), he begins telling Margaret stories from a past that he has never before shared. She gets frustrated when she senses that he isn't telling her the whole story, while the audience is left to wonder what he's leaving out, why he's leaving things out and if he even realizes he's doing it.

Tony's story slowly unfolds (and is later revisited and built upon) in flashbacks throughout the movie. As a young man, Tony (played during his school days and college years by Billy Howle) begins dating the young, fetching and quirky Veronica Ford (Freya Mavor). As they figure out how they really feel about each other and where their relationship is going, Tony spends a weekend at her family's country cottage, where Tony hits it off with Veronica's mother, Sarah (Emily Mortimer). Eventually (not a spoiler – it's in the theatrical trailer), young Tony's best friend, the very intelligent but very maudlin Adrian Finn (Joe Alwyn) emerges as a rival for Veronica's affections. As a mystery unravels both in old Tony's rearview mirror and in his present, he finds old Veronica (Charlotte Rampling) and demands answers.

"The Sense of an Ending" is a relatable, entertaining and thought-provoking character-driven drama. This impressive collection of English thespians all give heart-felt and layered performances, while Nick Payne's script and Ritesh Batra's direction sensitively and insightfully develop the story, but still leave room for individual interpretations. How a person sees this film will have as much to do with his or her age, perceptions and individual experiences as the story itself. And when all is said and done, the film's ending still leaves room for discussion among Movie Fans. Rather than a clearly defined ending, we get… the sense of an ending. Or is it a beginning? It's for each of you to decide for yourselves. Getting there does require you to go along for the ride on a slow-moving cinematic train, but it's well worth the journey – especially since you may be surprised where you end up. "A-"

Greetings again from the darkness. In 1967 Cat Stevens wrote "The First Cut is the Deepest" and the song has since been recorded by many artists (including Rod Stewart and Sheryl Crowe). The song's title is also an apt description of director Ritesh Batra's film version of the popular 2011 novel from Julian Barnes. It's one man's look back at the impact of his impulsive actions more than 50 years ago.

"When we are young, we want emotions to be like what we read in books". So says the narrator and lead character Tony Webster (as played by Jim Broadbent). Tony runs a tiny second hand camera store (specializing in Leica models) while leading a mostly benign life – rising daily at 7:00am, coffee with his ex-wife, and periodic errands for his pregnant daughter. One day a certified letter arrives notifying him that he has been named in the Last Will and Testament of the mother of a girl he dated while at University. And so begins the trek back through Tony's history and memories.

Of course, a film version can never quite cut as deeply as a novel, but this preeminent cast works wonders in less than two hours. Curmudgeonly Tony is accessible and somewhat sympathetic thanks to the stellar work of Mr. Broadbent, who always seems to find the real person within his characters. Harriet Walther ("The Crown") turns in a tremendous performance as Margaret, Tony's most patient and quite wise ex-wife. Michelle Dockery ("Downton Abbey") is their pregnant 36 year old daughter Susie, and just these three characters could have provided a most interesting story. The film's best scenes feature the comfort and familiarity of a once-married couple, as Tony and Harriet talk through previously never mentioned topics. However, there is so much more to explore here as Tony's thoughts bring the past splashing right smack dab into the present.

Billy Howle does a nice job as young Tony, an aspiring poet, who falls hard for the enigmatic Veronica (Freya Mavor). Complications arise when Tony spends a weekend with Veronica at her parents' estate. It's here that Emily Mortimer energizes things (and clouds thoughts) with minimal screen time as Veronica's mother. It's also around this time where new student Adrian Finn (played by Joe Alwyn of Billy Lynn's Long Halftime Walk) captures Tony's imagination and a friendship bond is formed … only to be later shattered in a most painful manner.

There is so much going on that director Batra's (The Lunchbox, 2013) low-key approach is often misleading. Looking back on one's life can lead to the twisted version that our mind has edited/revised in order to make things seem better or worse – definitely more colorful – than they likely were at the time. Tony's distorted view of history crumbles when documented proof of his actions is presented at his first face to face meeting with Veronica (the great Charlotte Rampling) in five decades. It's at this point that regret and guilt rise up, and the only question remaining is whether this elderly man can overcome his repressed emotions and self-centeredness in order to make the best of what time he has left. Each of us has a life journey, and though few of us ever actually tell the story, there are undoubtedly numerous lessons to be had with an honest look back.