LIMEHOUSE GOLEM, THE (2016, UK) **
dist. Lionsgate (UK); pr co. New Sparta Films / Number 9 Films; d. Juan Carlos Medina; w. Jane Goldman (based on the novel “Dan Leno and the Limehouse Golem” by Peter Ackroyd); pr. Elizabeth Karlsen, Joanna Laurie, Stephen Woolley; ph. Simon Dennis (Colour. D-Cinema. Digital Intermediate (2K) (master format), Todd-AO 35 (anamorphic) (source format). 2.35:1); m. Johan Söderqvist; ed. Justin Krish; pd. Grant Montgomery; ad. Nick Wilkinson; rel. 10 September 2016 (Canada), 1 September 2017 (UK), 8 September 2017 (USA – internet); BBFC cert: 15; r/t. 109m.
cast: Bill Nighy (John Kildare), Olivia Cooke (Lizzie Cree), Douglas Booth (Dan Leno), Daniel Mays (George Flood), Sam Reid (John Cree), Eddie Marsan (Uncle), María Valverde (Aveline Ortega), Adam Brown (Mr. Gerrard), Morgan Watkins (George Gissing), Damien Thomas (Solomon Weil), Peter Sullivan (Inspector Roberts), Amelia Crouch (Young Lizzie), Mark Tandy (Judge), Siobhán Cullen (Sister Mary), Clive Brunt (Charlie), Louisa-May Parker (Mrs. Gerrard), Nicholas Woodeson (Toby Dosett), Paul Ritter (Augustus Rowley), David Bamber (Mr. Greatorex), Levi Heaton (Sarah Martin).
In Victorian London, a Scotland Yard inspector (Nighy) hunts down the sadistic killer behind a series of gory, Jack the Ripper-Like murders. The story tries to be clever in its use of a non-linear structure, which doesn’t work, and comes across as simultaneously convoluted and obvious. As a result, there is little tension built from Goldman’s smug adaptation of Peter Ackroyd’s novel. Medina adds some interesting directorial flourishes in an attempt to enliven the material and there is plenty of period atmosphere created by Montgomery’s production design and Dennis’ gloomy photography. However, the production fails to fully explore the themes it highlights – notably Nighy’s character’s sexuality, which is often referenced but never delved into further. The performances are okay, but the production’s fluctuating tone is also an issue and there are no standouts amongst the cast. The result will likely disappoint genre fans of both horror and mystery with the production’s desire to impress, through its non-traditional approach to the material, taking precedence over telling a coherent and well-structured story.
THE SECOND BEST EXOTIC MARIGOLD HOTEL (UK/USA, 2015) ***
Distributor: 20th Century Fox (UK) / Fox Searchlight Pictures (USA); Production Company: Blueprint Pictures; Release Date: 26 February 2015 (UK), 6 March 2015 (USA); Filming Dates: began 10 January 2014; Running Time: 122m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: 35 mm (anamorphic) (Kodak Vision 2383), D-Cinema; Film Process: Digital Intermediate (2K) (master format), F65 RAW (4K) (source format); Aspect Ratio: 2.35:1; BBFC Cert: PG.
Director: John Madden; Writer: Ol Parker (based on a story by Ol Parker and John Madden); Executive Producer: Michael Dreyer, Jonathan King, John Madden, Jeff Skoll; Producer: Graham Broadbent, Peter Czernin; Associate Producer: Tabrez Noorani; Director of Photography: Ben Smithard; Music Composer: Thomas Newman; Film Editor: Victoria Boydell; Casting Director: Michelle Guish, Seher Latif; Production Designer: Martin Childs; Art Director: Dilip More; Set Decorator: Ed Turner; Costumes: Alison Lewis, Riyaz Ali Merchant; Make-up: Daniel Phillips; Sound: Ian Wilson; Visual Effects: Fay McConkey, Thomas Proctor, Emma Moffat.
Cast: Judi Dench (Evelyn Greenslade), Maggie Smith (Muriel Donnelly), Bill Nighy (Douglas Ainslie), Dev Patel (Sonny Kapoor), Richard Gere (Guy Chambers), Celia Imrie (Madge Hardcastle), Ronald Pickup (Norman Cousins), Penelope Wilton (Jean Ainslie), Diana Hardcastle (Carol Parr), Tina Desai (Sunaina), Claire Price (Laura Ainslie), Lillete Dubey (Mrs. Kapoor), David Strathairn (Ty Burley), Tamsin Greig (Lavinia Beech), Shazad Latif (Kushal), Rajesh Tailang (Babul), Denzil Smith (Mr. Dharuna), Sid Makkar (Jay), Avijit Dutt (Nimish), Seema Azmi (Anokhi).
Synopsis: As the Best Exotic Marigold Hotel has only a single remaining vacancy – posing a rooming predicament for two fresh arrivals – Sonny pursues his expansionist dream of opening a second hotel.
Comment: A more-of-the-same sequel, which coasts on the charm and skills of its excellent cast and vibrant locations. The plot lacks originality and veers too far toward a sit-com approach at the expense of depth in characterisation, but the vibe is good. Patel and Smith are looking to expand their hotel business and look for sponsorship from the US. When Gere arrives, Patel believes he is an inspector charged with assessing the business and he goes out of his way to charm him – echoes of Fawlty Towers. The cast is in good form again but has less to get their teeth into here and the film comes across as both unnecessary yet still entertaining.
THE BEST EXOTIC MARIGOLD HOTEL (UK/USA/UAE, 2011) ****
Distributor: 20th Century Fox; Production Company: Blueprint Pictures; Release Date: 30 November 2011 (Italy), 17 February 2012 (UK), 25 May 2012 (USA); Filming Dates: began 10 October 2010; Running Time: 124m; Colour: DeLuxe; Sound Mix: Dolby | SDDS; Film Format: 35 mm (anamorphic) (Fuji Eterna-CP 3514DI), D-Cinema; Film Process: Digital Intermediate (2K) (master format), Super 35 (source format); Aspect Ratio: 2.35:1; BBFC Cert: PG-13/12.
Director: John Madden; Writer: Ol Parker (based on the novel “These Foolish Things” by Deborah Moggach); Executive Producer: Jonathan King, Jeff Skoll, Ricky Strauss; Producer: Graham Broadbent, Peter Czernin; Director of Photography: Ben Davis; Music Composer: Thomas Newman; Film Editor: Chris Gill; Casting Director: Michelle Guish, Seher Latif; Production Designer: Alan Macdonald; Art Director: Peter Francis; Set Decorator: Tina Jones; Costumes: Louise Stjernsward; Make-up: Beverley Binda; Sound: Ian Wilson; Special Effects: Shiva Nanda; Visual Effects: Karen Clarke, Fay McConkey.
Cast: Judi Dench (Evelyn Greenslade), Bill Nighy (Douglas Ainslie), Dev Patel (Sonny Kapoor), Tom Wilkinson (Graham Dashwood), Maggie Smith (Muriel Donnelly), Penelope Wilton (Jean Ainslie), Ronald Pickup (Norman Cousins), Celia Imrie (Madge Hardcastle), Tina Desai (Sunaina), Sid Makkar (Jay), Lillete Dubey (Mrs. Kapoor), Diana Hardcastle (Carol), Seema Azmi (Anokhi), Paul Bhattacharjee (Dr. Ghujarapartidar), Liza Tarbuck (Staff Nurse), Denzil Smith (Viceroy Club Secretary), Honey Chhaya (Young Wasim), Bhuvnesh Shetty (Muriel’s Physiotherapist), Rajendra Gupta (Manoj), Jay Villiers (Evelyn’s Son).
Synopsis: British retirees travel to India to take up residence in what they believe is a newly restored hotel. Less luxurious than its advertisements, the Marigold Hotel nevertheless slowly begins to charm in unexpected ways.
Comment: The top-notch cast is the big draw to this adaptation of Deborah Moggach’s novel “These Foolish Things”. They are helped by a witty script, which manages to navigate the more predictable and familiar elements of the story. A group of elderly Brits each have their own reason for the late-in-the-day change to their lives when they decide to stay at a residential hotel for the elderly in Jaipur, India. the hotel is run by Patel’s dreamer. Once there, each of the residents finds their own way to come to terms with what they had been looking for in the later years of their lives. It is a charming and winning film which coasts on the supremely talented cast and the exotic location. Those looking for more depth, will not find it in abundance here despite the occasional moment of poignancy, but what they will find is an entertainment that has more than enough attraction to win them over. Followed by THE SECOND BEST EXOTIC MARIGOLD HOTEL (2015).
BERGERAC: ALL FOR LOVE (UK, 1991) ***½
Distributor: British Broadcasting Corporation (BBC); Production Company: British Broadcasting Corporation (BBC) / Seven Network; Release Date: 26 December 1991; Running Time: 106m; Colour: Colour; Sound Mix: Dolby; Film Format: 16mm; Aspect Ratio: 1.33:1; BBFC Cert: 12.
Director: Terry Marcel; Writer: John Milne; Producer: George Gallaccio; Director of Photography: John Walker; Music Composer: Ray Russell, Kevin Townend; Theme Music: George Fenton; Film Editor: Bernard Ashby; Production Designer: Merle Downie, Stephen Sharratt; Costumes: Jacky Levy; Make-up: Pauline Cox; Sound: Simon Wilson; Stunt Arranger: Rocky Taylor.
Cast:John Nettles (Jim Bergerac), Terence Alexander (Hungerford), Deborah Grant (Deborah Bergerac), Simon Williams (Rupert Draper), Suzan Crowley (Cressida Draper), Bill Nighy (Barry), Roger Sloman (Inspector Deffand), John Telfer (Willy Pettit), Al Ashton (DC Ramsden), David Kershaw (Ben Lomas), Jane Downs (Petra Crowe-Smith), Peter Watts (Ronnie), Philip Glenister (Philip), Bruno Madinier (Pascal), Charmaine Parsons (Ellie), Catherine Rabett (Jane), Iain Rattray (Club Waiter), Malcolm Gerard (Dentist), Gordon Salkilld (Barman).
Synopsis: After receiving a letter from Danielle ending their relationship, Jim Bergerac starts drinking again. To keep him out of trouble, Charlie takes him to Bath, where art dealer Rupert Draper will be buying a painting that Charlie was given as payment for a debt. Once in Bath, Jim falls for the charms of Rupert’s faithless wife, unaware that she is using him to take the rap for a murder, back in Jersey, where a body is found in the burnt-out remains of Rupert’s shop.
Comment: The last of six feature-length Bergerac specials and the last ever episode of the series was broadcast at Christmas 1991. Series 9 had seen a major shift in the series with Bergerac operating as a private investigator. As a result the series lost much of its charm and the constant switches of locale between Jersey and France did not help. However, for this final feature-length special the noir-ish elements hinted at through the preceding season finally gelled into one of the series’s strongest episoides. Nettles gives his best performance in the title role, with Bergerac having drifted back in to alcoholism and being made the patsy for an insurance con. Crowley makes a strong impression as the scheming femme fatale. Nighy is also on hand as a hired assassin who also falls under Crowley’s spell. The climax may feel a little contrived, but the episode delivers a compelling story and points to where the show could have gone had it not been cancelled.