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It’s a very poignant affair with an exceptional performance from Annette Bening as Grahame, who briefly exchanged California for a world of Alan Bleasdale and bacon butties, but it can’t quite get over the hurdles that biopics about movie stars invariably present. Sitting on the top deck of a bus or even seen against the wallpaper of a 1970s British boarding house, she still has a very obvious allure.
Prime among these is the memory of the star herself. We can understand just why Turner (Jamie Bell) falls for her even if she is old enough to be his mother.
She has reserves of kindness and empathy that he lacks.
He is a dour and unimaginative man, decent enough but incapable of rising above the prejudice of his community.
Honestly, though, I’ve been able to get this far because of a lot of men.
Lee Daniels gave me my first shot at TV, saying ‘You’re going to come do an episode of.
There was a lot of male love in the story, in different ways. It’s not coming from a subversive state, but no, it’s like ‘F**k that, I’m staying here, I shouldn’t have to leave’. One thing people often note is the lack of female directors. The thing I’ve learned is, it’s definitely about relationships. The disconnect comes when you’re naive and not able to be taken seriously.
With Happy, the father figure, he just wants his sons to love him. Even between the brothers, Henry and Jamie, Henry has that salt-of-the-earth masculinity but, behind that, there’s this blustering person who wants to prove himself to his wife. Like, when you’re in a cocktail room and people aren’t even considering you could be a filmmaker.
(It rains incessantly in the Deep South if this film is the measure.) They both have loved ones away at war. In the grim world that Rees depicts, even an impoverished white man like the small-time farmer Henry (Jason Clarke) considers himself far higher in social standing than his black neighbours.
Henry is married to Laura (Carey Mulligan), saving her from becoming an old maid.
After such searing moments in Grahame’s screen career as having coffee thrown in her face by Lee Marvin in Fritz Lang’s , scenes of her sitting in a Liverpool kitchen making small talk with Turner’s lovable mum (Julie Walters) seem a little banal. What is most impressive about Bening is that she doesn’t hide the character’s frailty either.