Dance with a stranger

Andy of Flatlands, yes maybe it was boring to you as it was based on fact, and face it the average working class person who lived in post war Britain had a boring and hard life. It is a damn good film, and you need to be able to work out the relationships for yourself without being spoon fed. I found it quite easy. I think you have missed the whole point of the miscarriage of justice that happened. Her speaking voice was typical of a working class women trying to be something she wasn't. Does the term "fur coat no knickers" mean anything to you? I suggest you watch it again. It is factual, damn good and worth watching. Miranda Richardson played the part really well as did all the cast. Their performances really were a great portrayal of the characters. By the way she was hanged (as a past tense and a past participle of hang, is used in the sense of "to put to death by hanging)not hung

A grim slice of 1950s Britain is expertly recreated in Mike Newell's film 'Dance with a Stranger'. Miranda Richardson gives an expertly judged performance as Ruth Ellis, an ageing nightclub hostess whose desire to keep a little glamour in her life, coupled with a powerful mutual sexual attraction, led her into a relationship with a man who, while not exactly evil, was utterly self-absorbed and prone to intermittent violence. The story ends in murder, and Ellis is now famous as the last woman to be executed in Great Britain. Obviously, the film is sympathetic to her, and while her victim scarcely deserves death, the tale is compelling; and it makes one wonder how many of those killed by the state may have done a terrible thing, but may also have had a tale of their own. Some will argue that in cases such as these, there is no alternative in judgement but to assign absolute individual responsibility; personally, I think it's a more civilised country that retains the capacity to forgive.

I've just read the last user review on this film & I would advise anyone who has any knowledge of the Ruth Ellis story to ignore it. There were legal reasons why everything was not explained. The boy was a result of a war time romance. Ruth Ellis also had a husband (& daughter) who for legal reasons could not be named or mentioned. Ian Holm played the part of her lover who did exist & did nothing to help her once she was arrested.

If you don't understand the film read the following books first & then watch the film: Ruth Ellis: The Last Woman to Be Hanged (Robert Hancock) Ruth Ellis: My Sister's Secret Life (Muriel Jakubait, Monica Weller) Ruth Ellis, My Mother: A Daughter's Memoir of the Last Woman to Be Hanged (Georgie Ellis, Rod Taylor)

Personally I think the film is excellent but of course I did know the story before I watched it.

Although best known for his blockbuster hits FOUR WEDDINGS AND A FUNERAL and LOVE ACTUALLY, Mike Newell does a splendid job of bringing this tragic tale to the screen. The cinematography is lush and the recreation of London in the 1950's, both sets and costumes, is brilliantly realized. Obsession can be a difficult subject to tackle and yet one is compelled by the script, the visuals, and most of all the consummate acting, to see this affair through to it's conclusion. Miranda Richardson is the woman trapped by her need to make a good living and her inability to disentangle herself from the clutches of a destructive affair. An incredibly young Ruppert Everett and the redoubtable Ian Holm make up the other two sides of this twisted triangle. While all three actors shine, Richardson's portrayal is one of an individual tortured by a relationship that can never be and at a loss to explain why it endures to herself or anyone else. Not for the faint of heart but well worth the effort. Based on a true story.

Billing this as the tale of "the last woman who was executed in Britain" sorta lets you know up front that Miranda Richardson's widescreen debut is going to end badly.

Director Mike Newell (Four Weddings and a Funeral) pulls gut~wrenching performances from his leads, Miranda Richardson, Rupert Everett & the always~underrated Ian Holm, in this fascinating fact~based story about utter sexual obsession.

Set in the dark '50s.

Ruth Ellis (Richardson) runs and lives above a nightclub/brothel frequented by several of London's wealthy gadflies. She's platinum blonde, all brass and ummm... well~liked by the local gentry.

She also has a young son named Andy, about to enter school, who turns the blindest of innocent eyes to Mom's lifestyle.

Enter David (Everett), a sullen alcoholic rich boy and LeMans auto racer wannabe who's taken in by Ruth's wiles within moments of seeing her for the first time ~ after being introduced to Ruth and her "club" by his equally well~heeled close friend Desmond (Holm).

What unfolds is the single most riveting ~ and more importantly, believable ~ love/hate relationship film I've seen. There have been tons of movies about obsessive lust (and I'm not talking about the flix they rent behind that door at the back of your video store whose "A" section takes up three aisles) but this one is a real treat.

David, you see, is seriously involved with another woman when he meets Ruth... yet beds the latter in quick fashion. The other woman (eventually his fiancee) is the rub. As is David's penchant for getting drunk and simultaneously developing still a third wandering eye.

Still, it's Ruth he wants. To the point of showing up at the oddest of times to woo (or just rant drunkenly, incoherently at ~ or just to hit) her. All the while winnowing his way deeply into Ruth and her son's hearts and lives.

Meanwhile Desmond stands stoically by until nearly the bitter end, supporting Ruth during LeMans~boy's long absences and sustaining her each time David fails to live up to his promises, which is pretty much always.

The "fights betwixt the leads" scenes are the best, the most creatively acted and directed.

After a while, Newell yanks you into the almost~triangle between the three and one begins to attempt to choose sides. This proves to be impossible, as none of the characters are particularly sympathetic.

IE: this ain't a Hollywood movie. Each character has flaws which are well~defined, there's no happy ending and (are you listening, Jim Cameron?)... no sequel.

Richardson is simply astonishing in her premiere. Each note she plays, screaming or smoldering, is just right (hence Miranda's Rights).

Everett's superb as the sociopathically obsessed lover.

And Holm is, well, brilliant. Color him unrequited with a vengeance.

9 of 10 Niro~Stars