by Tony Dayoub
The latest entry in what has become an arthouse cottage industry, the Retirement Ensemble film, also happens to be the directorial debut of one of the finest American actors, Dustin Hoffman. Quartet is a cut above other films of its kind. The most recent one to come to mind is The Best Exotic Marigold Hotel, perhaps because the two films share one star in common, Maggie Smith. Here she plays Jean Horton, a former opera diva forced to retire to Beecham House, a nursing home for musicians. At Beecham, the temperamental vocalist is reunited with three of her closest collaborators, libidinous Wilf (Billy Connolly), bemused Cissy (Pauline Collins) and the reserved Reg (Tom Courtenay), who still holds a grudge against Jean for betraying him on their wedding night.
Showing posts with label Maggie Smith. Show all posts
Showing posts with label Maggie Smith. Show all posts
Tuesday, March 5, 2013
Thursday, June 21, 2012
Patang (The Kite) (2012) and The Best Exotic Marigold Hotel (2012)
by Tony Dayoub
The lushness and spirituality characteristic of India has long been a source of inspiration for filmmakers. But with few exceptions, the sometimes reductive nature of cinema has proven ill equipped to capture the gorgeous country in all of its complexity. Movies like Slumdog Millionaire often come closer to depicting a squalor and cultural dissonance one could confuse with a type of neorealism but is in fact closer to a kind of "poverty porn." Two recent movies take up the challenge of illustrating contemporary India, and, though both are deeply flawed, it's not surprising that the one directed by an American of Indian descent comes closer to success.
The lushness and spirituality characteristic of India has long been a source of inspiration for filmmakers. But with few exceptions, the sometimes reductive nature of cinema has proven ill equipped to capture the gorgeous country in all of its complexity. Movies like Slumdog Millionaire often come closer to depicting a squalor and cultural dissonance one could confuse with a type of neorealism but is in fact closer to a kind of "poverty porn." Two recent movies take up the challenge of illustrating contemporary India, and, though both are deeply flawed, it's not surprising that the one directed by an American of Indian descent comes closer to success.
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