Wetherby

I've always loved this movie deeply. I just watched it again for perhaps the sixth or seventh time. I fully agree with the Japanese reviewer that the mention of Nixon is in sympathy, not ridicule. His yearning to be loved by another, is very much meant as a parallel to the young and older Redgrave character - as well as to the young man at the dinner party.

David Hare has a wonderful scene here that is very similar to the very end of Plenty - when we see Joely Richardson writing in her diary in 1947 or so (think of Plenty's flashback to Meryl Streep in 1944 or 1945 speaking to the French farmer). The scenes might be full of bathos - but gee, I was overwhelmed both times.

This movie has much in common with other Hare ventures - movies like Strapless and Plenty, plays like Skylight and "Amy's View".

Hare's deep sympathies are with the romantic, the compassionate, the sensitive, the foolhardy, the collective-minded and the lost. He is antipathetic toward the self-sufficient, the ambitious, the laconic, the individualistic, the successful. I only partly share his sympathy and his antipathy but he makes me appreciate his attitudes through dramas he creates with real living characters.

Hare is sentimental in a nostalgic way, and can write wonderfully vivid, intelligent and lost protagonists. I think him a far more intelligent and better dramatist than such left-wingers as Mike Leigh or Ken Loach.

Many of us will see much of ourselves in his protagonists' loneliness, our wonder at mistaken hopes from our past, and sense of our own frailties and faults as we grow older.

Others speak of similarities to Pinter - I don't see them. Hare is more essentially romantic - even if he doesn't want to be - and I'd place him more with a Jacques Demy than with a Pinter-Mamet and their cold keen patterns of speech and behavior - though granted, he's more concerned with social and political background than Demy.

This is essentially a sad movie about one who was once happy - and her wonder and self-realization about another sadder than she.

This movie also started me off on two decades of strongly favoring Joely Richardson in any role - as I had always loved Ian Holm and Vanessa Redgrave. (I realized recently that among my several dozen favorite movies since the mid-1960s, about one quarter seem to have Ian Holm in them!).

If you like movies like Sunday Bloody Sunday, Butley, Plenty, A Kind of Loving, Quartermaine's Terms - and I do - you'll love Wetherby. I love this movie.

This is a great film. I just saw it for the first time. The comment above is completely wrong, however. I must set the record straight. The military scenes are not US soldiers, but rather a flashback for Vanessa Redgrave to a love lost. Royal Air Force, sir, in Malay. I whole-heartedly recommend the film. It has a great dramatic score. It also has tackles some real dark ideas about love and life. And it has a pace that doesn't exist anymore in many films, especially those with stars. Great performances from Ian Holm and Tom Wilkinson. Also a fine performance from a very young Joely Richardson (Vanessa Redgrave's daughter), who now stars on FX's Nip Tuck.

The mysterious death of an enigmatic young man newly arrived in the suburb of Wetherby releases the long-repressed, dark passions of some of its residents.

Roger Ebert called it "a haunting film, because it dares to suggest that the death of the stranger is important to everyone it touches – because it forces them to decide how alive they really are." That is one way of looking at it. Others have called the film a "puzzle" with pieces out of order and perhaps even missing.

I liked the idea of a man who kills himself for no reason, and everyone around left to wonder. I am less thrilled about some of the follow-up. His life as a mystery seems better to me than exploring it, but others may disagree.

I agree with the other reviewers that Vanessa Redgrave's performance is the highlight of the film. She plays Jean so perfectly that you can imagine that they plucked the character out of real life and simply filmed her in her natural environs. You won't find any performance by an American star---and I include De Niro, Pacino and the other top Americans of the last 50 years---which is as natural, unaffected and moving at Redgrave's. The other real delight is watching Joely Richardson play the young Jean. She looks like her mother, and she foreshadows the later development of Jean perfectly. The actor who plays Jim is perfect in that small role: handsome, not too bright, very honest and devoted. The next great performance is in the character of John Morgan, perfectly portrayed as a young man who is mentally ill, but not to the extent this is noticed, or dealt with at school. He is intelligent, but unable to relate to people as more than objects, or objectified ideals. As a character, he is creepy in just the right degree---subtly, so that the pieces only fit together later.

I'm not sure how to interpret the events which unfold or are revealed in the last 20 minutes of the film, but however you look at it, this is a depressing, very British outlook on middle age. A kind of, yes life is really awful, but we're here and the worst is behind us. In mood and final resolution, as well as in having a teacher as the central character, this movie has echoes of Michael Redgrave's very fine movie, The Browning Version.

Finally, I don't see any significance to politics in this movie. The film is a story of character development and revelation. Don't watch this movie if you are easily bored, or easily depressed, for that matter. Watch it if you want to see some really fine acting, and want to be provoked a bit.

David Hare's quiet masterpiece conveys a genuine sense of alienation and dislocation while covering a great deal of social and political ground. It never loses sight of the human story, though; the loneliness of the characters comes through in this startlingly intelligent drama which unfolds slowly, like a flower under time lapse photography. We watch the bloom, flowering and eventual withering of the characters' bodies and minds over several decades of social discord, emotional disappointments and lost dreams.

It's stunning how Hare constructs such an involving character study under the framework of a conventional mystery. The inexplicable suicide of a young man draws the viewer in but it's the characters that involve the viewer in a greater mystery of the heart; how did these people get to this point in their lives and the history of a nation? Hare delicately examines the spiritual decay of late-20th century British society and how it impacts all generations, from the haunted post-war generation to the alienated, disconnected contemporary youth. Ultimately both groups are unable to reach out to each other, trapped in the inescapable malaise which spares no-one.

Vanessa Redgrave carries this film. In her eyes a dazzling spectrum of emotions infuse her scenes with joy, heartbreak, hopelessness, elation, and everything else in between. It's a brilliantly written film but no words are necessary to understand the despair. It's all in her eyes.