themiddletwenty

For me, the most notable thing about this film was the scarcity of dialogue. It is a brave move on the director's part for sure, but for a film that tells a story of personal awakening (of sorts), the infrequent speech means we can never be sure of what Morvern is thinking or feeling. We don't get much help from the camera either - the film is exquisitely shot, but many of the scenes have a confrontational, tense and opaque sense of aesthetics - there is not enough variation in feel to tell the story of someone who changes their life completely.

My reading of Morvern Callar (as a film and a character) is of a woman who escapes from a humdrum, ugly life. Through personal awakening, art and good fortune, she comes to embrace a more bohemian and expansive existence. In short, she learns to live.

It's a big story and a big theme - yet we never really understand how and why Morvern comes to change her entire outlook on life. Neither do we hear enough from her to mitigate the more unpleasant sides of her character - her frequent (and occasionally sociopathic) lack of emotional response, her selfish excess, her deliberate mistreating of her friend. I suspect she is supposed to be a hero of sorts, but she could equally be an anti-hero or even something in between. We just never find out enough about her - in her words, anyone else's words or the director's shooting of her.

I'm glad that the film has made me consider questions like this, and as an intellectual exercise it's therefore quite enjoyable. As entertainment, as statement or as spectacle however, it's quite badly flawed.

I really like some of Mike Leigh's films - 'Nuts In May' and 'Abigail's Party' are classics. Sadly, although the themes of insightful portrayal into class-ridden British society are present, 'All Or Nothing' lacks any of the vitality or wit of the earlier films. As is well-documented, the film centres on the lives of three similar families living on a wretched council estate in London. The estate is a grim urban wasteland that could reasonably be mistaken for a run-down area of Poland. Their family relationships are broken and unhappy; their love lives abject failures; what work they do is soul-destroying and banal; sex is violent and dirty. Nothing ever relieves the misery, save the occasional wry laugh in the face of it all. And, as if the themes, setting and plot don't ram home the message hard enough, the film is soundtracked by a constant weeping of violins and woodwind. Be in no doubt: this film tells us to Pity The Working Classes. Yet this film is made by, marketed to, acted by and watched by middle class people. They only show this at arthouse cinemas. This film simply caricatures people in order to give the angst-ridden middle classes a chance to feel a little more authentic. Johnny Rotten of the Sex Pistols once sang of 'a cheap holiday in other people's misery'. That's what this film is.

I only watched five minutes of this video. I found the characters so annoying I wanted to smash up my TV set and throw my video out of the window. Fortunately I just turned it off instead.

The characters were shallow, irritating, grinning middle class imbeciles not because they were well-drawn to be those things but because they were the feeble creations of this straight-to-video disaster.

Completely unfair criticism, I know, but I thought it might help anyone else who finds Friends unwatchable to avoid watching this.