Shirley Valentine gave Pauline Collins a role to match her talent. She seized it with style and glee

The film for which the actor, who has died aged 85 , is best-remembered is also that in which she was afforded most airtime. If only more film-makers had managed to channel her warm, sharp charm Pauline Collins was the smart, funny, cherubically sexy female actor in the 1970s who became a recognisable star on both sides of the Atlantic in the smash hit British TV show Upstairs, Downstairs, the Downton Abbey of its day. She played Sarah, the pert-yet-vulnerable parlour maid with a dodgy past, who has a relationship with the handsome chauffeur Thomas, played by Collins’s real-life husband, John Alderton. It was a TV marriage that the public loved and which carried on into spinoff shows Thomas and Sarah and No, Honestly. Continue reading... from Film | The Guardian https://ift.tt/maOthdj via IFTTT

Best films of 2023 in the UK: No 7 – Saint Omer

Alice Diop’s award-winning courtroom drama doubles as an unsentimental study in empathy with one of the year’s most mesmerising performances

At this year’s Venice film festival, Alice Diop’s unblinking stunner Saint Omer was handed the prize for best debut film – a reward that would have seemed inadequate if it hadn’t shortly afterwards taken the grand prix in the main competition, and inaccurate under any circumstances. Diop’s film is only a debut if you’re happy to disregard documentary as a lesser branch of cinema that somehow doesn’t count; as her first dramatic feature, Saint Omer merely extends the clear-eyed gaze and burning social interest of her non-fiction work into new narrative terrain, with nary a tremor of uncertainty. Films like We showed Diop has form in braiding truth, storytelling and intense human scrutiny; Saint Omer isn’t so very different.

The surprise is that Diop’s entry into fiction takes the form of a courtroom drama, among the most rigidly procedural and rule-bound genres in the medium – only to strip it of its expected structures and rhythms, centring disordered interior feeling amid unyielding legal process. The case, drawn from a real-life 2016 headline-maker in France, is stark and horrifying: legally straightforward, perhaps, but psychologically tumultuous. Young Senegalese Frenchwoman Laurence Coly (Guslagie Malanda, often scarcely moving a muscle while giving one of the year’s most mesmerising performances) is accused of murdering her infant daughter. She doesn’t deny the act, but claims sorcery was to blame, sticking calmly to her story over days of frustrating testimony – shot by Claire Mathon with penetrating stillness, allowing the viewer to take in her micro-shifts in expression and intonation, her consistency of comportment, her occasionally lofty turns of phrase, as she repeats her awful confession over and over.

Continue reading...

from Film | The Guardian https://ift.tt/umROBzs
via IFTTT

Comments

Popular posts from this blog

The Miracle Club review – Maggie Smith can’t save this rocky road trip to Lourdes

BREAKING: Interstellar back in cinemas due to public demand; Dune: Part Two to also re-release on March 14 in IMAX

EXCLUSIVE: Mona Singh gears up for an intense role in an upcoming web series; Deets inside!