Elsa & Fred (2014)

To call this film gentle would probably be an insult to gentility, but sometimes that’s all that you want as a viewer. It’s a story of a love affair between two 80-somethings played by Shirley Maclaine and Christopher Plummer, after they’re moved into adjoining apartments by their fussy children (Marcia Gay Harden and Scott Bakula respectively). The character arcs — whereby Elsa is the sparky vibrant one who has a love of the film La dolce vita, and who coaxes Fred out of his shell — would be tiresome if the actors were a third their age, but you don’t see too many films about love amongst the elderly, so it’s nice to know the actors can still get work. Both have an easy charm, and the director keeps things firmly middle-of-the-road, avoiding the worst excesses of sentimentality (until the finale at least). Easy to forget, but hard to really take too vociferously against.

Elsa and Fred film poster CREDITS
Director Michael Radford; Writers Radford and Anna Pavignano (based on the film Elsa y Fred written by Marcos Carnevale, Marcela Guerty and Lily Ann Martin); Cinematographer Michael McDonough; Starring Shirley Maclaine, Christopher Plummer, Marcia Gay Harden, Scott Bakula, Chris Noth; Length 94 minutes.
Seen at home (DVD), London, Tuesday 30 June 2015.

Behind the Candelabra (2013)


NEW RELEASE FILM REVIEW || Director Steven Soderbergh | Writer Richard LaGravenese (based on the book Behind the Candelabra: My Life with Liberace by Scott Thorson and Alex Thorleifson) | Cinematographer Steven Soderbergh (as “Peter Andrews”) | Starring Matt Damon, Michael Douglas, Scott Bakula, Rob Lowe, Debbie Reynolds | Length 118 minutes | Seen at Cineworld Fulham Road, London, Tuesday 11 June 2013 || My Rating 3.5 stars very good


© eOne Films

If Side Effects earlier this year was billed as Soderbergh’s last film, it seems as if Behind the Candelabra may actually turn out to be. Perhaps it didn’t ‘count’, what with being made for the cable subscription channel HBO, but it holds up well as a cinematic work. By the nature of the central characters’ lives, it’s a bit of a chamber piece, being restricted largely to interior sets — Liberace’s stage at Las Vegas, and his ornately kitsch home — but like all Soderbergh’s films, it boasts an excellent ensemble of actors.

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