Song For Marion

They say great things come in small packages and you’d have to have a heart of stone not to shed a tear or two for this delightful little British film that recently closed as the gala night for the Toronto International Film Festival - a small film with a big heart to share.

Marion (Vanessa Redgrave) is dying from cancer. Despite taking its toll on her body the illness has not taken away her soul and she is determined to live her last moments to the full, including singing with her eccentric and colourful friends in a choir.

Her grumpy husband Arthur (Terence Stamp) on the other hand wants nothing to do with the outside world and would much rather Marion stayed home and rest. Desperately concerned Marion is risking her health and too much of the little energy she has left, he has become angry at the whole world and everyone in it, pushing friends away and distancing himself from the already strained relationship with his son (Christopher Eccleston). Nothing matters to him but Marion.

Only when the inevitable happens and Arthur’s world comes crashing down, does he begin to open himself up to the possibility of a future without his wife, and with a little help from Marion’s friends and their choir leader Elizabeth (Gemma Arterton), Arthur gradually begins to move on and live his life.

Weepy British dramas of this kind have come in their shedloads before, most recently with the likes of The Best Exotic Marigold Hotel and even Love Actually and Calendar Girls. There is nothing new or original here, in fact like many a heart-warming, self-discovery story before it’s predictable and clichéd. The depiction of the elderly ‘OAPzz’ (as they call themselves) and their involvement with modern music is laughable, but endearing too. However the acting and funny script make it worth your while.

While Redgrave and Arterton are delightful in their roles, it’s Stamp who carries the film. Less ‘Victor Meldrew’ and more ‘Grumpy’ from Snow White, proving under that hard exterior lays a caring side, a heart he only previously showed for his wife.

A few relationships could have been covered in more detail including the theme of father-son estrangement, and even the scenes between the unusual friendship that ignites between Elizabeth and Arthur, as she tries to coax him out of his mourning.

Ultimately the funniest scenes are those between the older characters, Arthur and Marion’s fights and the elderly singers learning how to rap. Not as cringe worthy as you might expect from your Dad on the dance-floor at a wedding.

However at the very centre of this beautiful little drama is a story about one elderly couple and their fight for the more fun and joyful aspects of life and love. What hits home the most if that these central characters could very well be your grandparents or the locals you see down the pub, British eccentricity at its best and most charming.

It probably won’t gather much attention, nor will it be remembered as one of the great comedic dramas, but it is such a sweet and tender film that it deserves to be praised and enjoyed.

VERDICT: * * *
A sweet little drama dealing with the subject matter with such grace, and with a very touching performance from Stamp. Though not as original as other Brit-Pack competition out there, this is more than just sunday afternoon viewing. Beautiful.

Song For Marion will be released in UK Cinemas in February

ARGO

Ben Affleck is turning out to be one of the finest filmmakers of his generation, so much so that his Directorial efforts have trumped practically all his acting failures during the early 00’s (Can we forgive him for Gigli now?). Back when he joined forces with best friend Matt Damon in 1998 to write the script for the much loved Good Will Hunting, who knew then that we had a soon to be greatly respected and highly praised creator in the making.

Only a few years after his commercial successes with The Town and Gone Baby Gone, Affleck returns to the director’s chair to helm and star in this winter’s Oscar bait movie Argo.

Following the real life events of the CIA’s attempt to rescue six American diplomats from Tehran during the Iran hostage crisis in the late 1970s and early 1980s, this thriller is one to watch out for come award season.

On November 4th 1979, the American Embassy in Tehran was overrun by militants in support of the Iranian revolution and in retaliation to the US’ support of the deposed Shah. In a frightening display, hostages were taken and paraded on television. When the CIA learn of six U.S diplomats who are trapped and seeking shelter with the Canadian ambassador (Victor Garber), exfiltration specialist agent Tony Mendez (Affleck) is sent in to rescue them.

Mendez plans a clever ruse by joining forces with real life make-up artist John Chambers (John Goodman), who worked on The Planet of the Apes films and also previously helped the CIA with other crafted disguises, and film producer Lester Siegel (Alan Arkin) to produce a phony film studio and rescue the trapped citizens. All the while he was also establishing the pretence of a developing sci-fi project called ‘Argo’ to the press.

In a potentially dangerous and life threatening task, he masquerades as the film’s director, enters Tehran under the pretext of location scouting for the film while really briefing the six escapees with extensive information, providing fake passports and fake identities to get home safely.

The details of this incredible mission were not released to the public until 1997 and while Mendez himself was awarded the Intelligence Star, the nature of the event meant he was not allowed to keep it until the information was made public.

Argo has now been nominated in several catagories at this years Academy Awards (being held in later February) including Best Picture, but sadly Affleck has missed out on a Best Directors nod.

While a story of this nature is naturally like catnip to the Oscars, full credit goes to Affleck who while acting the role of Mendez very well has assembled a strong quality cast, a brilliant screenwriter, production designer and even the perfect composer in Alexandre Desplat. In real life the six diplomats made it home safely, and in 1981 all other hostages taken were released unharmed. Argo never wains on tension, right up to the nail biting finale, so despite the conclusion of the film being common knowledge, it still takes you on a ride before you get there, sprinkled with a few little comedy touches courtesy of Arkin’s hilarious turn as Lester Siegel which provide much needed relief from all the political jargon.

A few other creative touches, including a cleverly organised opening credits sequence using hand drawn storyboard images,and interesting history information at the end of the film keep things engaging in what is a superb feature from Affleck, that serves only to leave us wanting more.

VERDICT: * * * *
A Powerhouse performance from the entire cast, with extra credit to Arkin for his comedic moments in a film with such a serious subject. However this is Affleck's baby, a dedicated, articulate and powerful piece that lingers with you long after you've left the cinema. An Oscar contender it truly deserves to be.

Argo is still playing in selected cinemas, and will be released on DVD later this year.