Directed by Paul McGuigan
Starring – Jamie Bell, Annette Bening, Julie Walters
The Plot – Based on Peter Turner’s memoir, the film follows the playful but passionate relationship between Turner (Bell) and the eccentric Academy Award winning actress Gloria Grahame (Bening) in 1978 Liverpool. What starts as a vibrant affair between a legendary femme fatale and her young lover quickly grows into a deeper relationship, with Turner being the person Gloria turns to for comfort. Their passion and lust for life is tested to the limits by events beyond their control.
Rated R for adult language, some sexual content and brief nudity
– Subliminal truth in advertising. Intentionally fake backdrops and landscapes are used signify not only that particular starlet era of film, but also that the two leads are the only real thing in the other person’s eyes. Beyond this, the film’s actual setting too plays a prominent role. Liverpool, England has always felt like a town that is frozen in time, depicted here with vintage wartime posters and outdated housing detail that feels aged even for the 80’s. This makes the perfect setting in film for two people trying to clear the hurdle of their dramatic age gap. They too have frozen the scope of time.
– Contrasting interpretations. Interestingly enough, the couple visually transcends their difference in age when alone, feeling like two kids who have their whole lives ahead of them, yet when they are out and about with other people, that blurred vision caters to reality and we see them how everyone else does.
– It’s no surprise that Bening steals the show, but as Grahame she sets back the hands of time, juggling the personality of this tender woman with seeds of pep to grow around her otherwise garden of despair. Through a life of heartache in and out of the business, Bening channels an inhabited child of sorts as this free spirit who lives by her own rules.
– The parallels between love and film seem striking. Both hang their prominence respectively on the importance of age, but it only takes one desirable gig to feel inspired again.
– At times, the camera moves between Turner and Gloria like a dreamy tiptoe through the rise and fall of two kindred spirits. This is a visual representation for love’s first steps, feeling like an infinite honeymoon period that never relents.
– Exceptional slow pan long take shots that made for some of my absolute favorite scenes in the film. In leaving the camera running, McGuigan trusts his dual leads in visually encompassing the kind of pain and heartache that comes with love on the rocks, never feeling shy with getting front and center with such anguish.
– Rough and jagged transition scenes between two timelines that rarely gets distinguished with confidence.
– While the chemistry of Bell and Bening is certainly there, the film misses out on the chance to sizzle the seduction. At times, it can feel like a rushed and undercooked slab of meat that doesn’t satisfy our palate.
– It’s somewhat appropriate that a film that reminds us of the many actresses that constantly overshadowed Gloria also shelves her as the supporting role to Bell’s narrative command. This is a major mistake because we often only see the problems and don’t get to indulge in falling in love with her the same way Turner does.
– Inconsistent pacing especially during the second half of the film. The plodding alone made me wish that twenty minutes was trimmed from this 101 minute film, but in doing so we would lose what little exposition we fought so hard to gain with these two. This ultimately leaves the script with the feeling of being written into a corner.