garethcrook

Wallace & Gromit are back... and so is Feathers McGraw. That's probably enough for any viewer. Many might wonder is this going to be as good as The Wrong Trousers. The answer is no, but it's not far off and really only falls short because it's a sequel. It's near impossible to capture the magic of anything as much loved as The Wrong Trousers, even though that was a sequel of sorts. The pairs house has had some upgrades. Wallace's new wake up routine is genius. Not that long suffering Gromit is impressed. He's happy with the simple life. The Pat-o-Matic for instance isn't to his taste. He'd much rather have a nice pat on the head from Wallace. Wallace's latest invention though is for Gromit, to help him in the garden. A smart gnome called Norbot, who instead of helping, ruins Gromit's garden, invading his only sanctuary. The neighbours though are impressed and this kicks off Wallaces scheme to solve their money troubles, Gnome Improvements. What about the penguin you may ask? Well he's doing time at the zoo, but upon hearing of his foe's latest invention. He finds a way to hack Norbot, change his settings to 'Evil' and have him create an army of evil gnome clones. They first terrorise the neighbourhood, besmirch Wallace's good name, help Feathers break out of the zoo and steal the blue diamond that alludes him in The Wring Trousers. The details are delightful. The animation is beautiful. The story first class and the action both gripping and wonderfully cinematic. So no it's not as jaw dropping and perfect as The Wrong Trousers, but it doesn't need to be. It's just as much fun and it's a joy to have a new adventure to enjoy over and over again.

After Howard's End, a year later Emma Thompson and Anthony Hopkins returned for The Remains of the Day. This happens a lot in the world of Merchant Ivory films. Here Lord Darlington (James Fox) dies leaving a big country house, another Merchant Ivory mainstay. Hopkins is Stevens, the butler at said house, that's bought by a rich American named Lewis (Christopher Reeve). Thompson is Miss Kenton, the old housekeeper. Stevens clearly misses her and sets about on a task to return her to Darlington Hall. Through letters and narration to start, we reminisce of days gone by, days that preceded Lord Darlington being disgraced. We're taken back to that timeline and Miss Kenton's first days on the job. Youthful and capable, she's a tricky proposition for the somewhat stuffy Stevens. He questions her professionalism but discovers she does know best. There's a lot going on at Darlington Hall in the pre-war era, not least meetings regarding what's happening in Germany and France. It's felt that the house needs to be running as smoothly as possible, giving Stevens a difficult call to make. He has a lot on his plate does Stevens, from dealing with the failing health of his aging father, to giving awkward advice to the young soon to marry Mr Cardinal (Hugh Grant). Cardinal is hanging around the hall to help out with the meeting about Germany, which is not going as you might expect. It's certainly not what attendee and future hall owner, Mr Lewis was expecting and he's not afraid to call it out. Stevens is pulled in more directions than he can handle and finds its Miss Kenton that's there when he needs help most. There are things beyond their control as it becomes apparent as to why Lord Darlington is to be soon disgraced. He's a antisemitic Nazi sympathiser, but Stevens has his blinkers on. He's there to serve, nothing more. Miss Stevens though, she's different, uncomfortable about her bosses politics. She falls for Mr Benn (Tim Pigott-Smith) who's on the same page and whisks her away. Stevens although likeable is often infuriating, but it's impossible not to see this as one of Hopkins most brilliant performances. He pulls everyone up with him. Not Thompson, she's magnificent on her own, but Hugh Grant in particular shines in the small part he's given. It's a slow burning gripping foiled love story with some real substance, fantastic characters and dual timelines that pace perfectly. For something that's so dark and soulful, it really is wonderful.

Continuing my Merchant Ivory viewing. After the summer playfulness of A Room with a View, was dampened by the sad tale of Maurice. I'm prepared for a bit more shade with Howard's End. Like Maurice, this is based on a E. M. Forster novel. I suspect it might pack a punch. The cast is impressive, many returning from previous Merchant Ivory productions. Some with big roles, others notable faces in smaller scenes. Simon Callow plays a piano, Mark Tandy turns up to lunch. We have two well-to-do families in southern England. The Wilcox's and the Schlegel's. Helen (Helena Bonham Carter), a Schlegel, is staying with the Wilcox's at their country pile, known as Howard's End and after a mistaken midnight kiss with the youngest son, Paul (Joseph Bennett) kicks off a bit of a to-do. The episode not forgotten, months later Paul's older brother Charles (James Wilby) gets married to the dotty Dolly (Susie Lindeman) and takes a flat opposite Helen, her sister Margaret (Emma Thompson) and brother Tibby (Adrian Ross Magenty) in London. The families appear karmically bound. They are chalk and cheese. The Schlegel's are modern and progressive. The Wilcox's including the sickly Ruth Wilcox (Vanessa Redgrave), doesn't even want the vote for women. Margaret and Ruth though find an odd friendship, based around Ruth's concern of the Schlegel's housing situation. Their town house lease is to expire and be turned into flats. Something the house proud Ruth finds impossible to comprehend. Leading her to a grand gesture on her deathbed that will feel satisfactorily prophetic. It's a joy the way this unfurls. Little subplots blossom unexpectedly. Helen seems particularly gifted at weaving webs, hers is the glue in this story. After inadvertently stealing Leonard Bast's (Samuel West) umbrella, he's drawn into a world he doesn't yet know he's already connected to. I'm barely at the hour mark when I've already fallen head over heels. The Schlegel's are delightful, a family sat in the middle of Britain's antiquated class structure, Thompson and Bonham Carter are utterly captivating as they pull the story together. They are the shining light, their characters wanting to help their friend Mr Bast reach his potential. The widowed Mr Wilcox, Henry (Anthony Hopkins) on the other hand, is the cold hearted fat cat. Watching Thompson and Hopkins go head to head makes the hairs stand on end, but don't think for a second you know where this is headed. This epic twists and turns delightfully. The locations are stunning and why is it everyone in the Merchant Ivory stable has magnificent hair. If you think this is merely some period drama puff piece with fancy frocks and bow ties, think again. It's nothing short of masterful, in its plot, its characters and execution. I thought it might pack a punch, this is a knockout. Subtle magnificence.