Ladies in Lavender (B+ or 3/4 stars)
Low-key, quaint, & charming are the 'Ladies in Lavender', a fairy tale of a film written/directed by actor Charles Dance. It is 1936 in a quiet sea-bearing town of Cornwall, where 2 spinster sisters Janet (Dame Maggie Smith) & Ursula Widdington (Dame Judi Dench) share a peaceful, isolated existence with their crusty housekeeper, Dorcas (the always enjoyable Miriam Margolyes). One morning, after a violent storm, they wake up, step outside their humble abode, & take-in the fresh ocean air – much the same way they have for their whole lives. They peer down to the shoreline, only to discover a mysterious young man (stellar German actor, Daniel Bruhl) washed-up on the rocky beach, the only survivor of a shipwreck.
Obviously alarmed, the sisters take him into their cottage and, as they nurse him back to health & he recuperates, long buried resentments btwn. them are rekindled. Over time, they discover that their castaway is Andrea Marowski, a Polish Jew who was escaping Nazi anti-Semitism on a ship bound for NY. They also discover, quite comically, that he is an exceptional violinist. The three of them (plus Dorcas) get along swimmingly; he proceeds to steal their hearts. Janet (Smith) does her best to speak as much Polish as she knows, and tends to Andrea, quite like a mother would. Ursula (Dench), however, seems drawn to him in a different way. She almost resents the motherly way in which Janet treats him, because she, herself, seems physically & emotionally attracted to Andrea. This is not to say this 70-ish yr. old female is in love with a 20-something male. She becomes enraptured in the idea that she may have been in love with him or a fellow like him if she were younger. Ursula had never married, and may not have ever been with a man.
Much to the sisters' dismay, Andrea catches the attention of Olga (Natascha McElhone), a Russian painter who is visiting the small town. The sisters become absurdly over-protective and dislike that he now leaves them to visit Olga at her cottage. Olga wishes for her famous Maestro brother, Boris, to hear Andrea play. This could set-up Andrea to play professionally (in concert) with her renowned brother & become famous himself. If Andrea leaves with Olga, how would Janet & Ursula cope with Andrea's absence? Will he acknowledge his thanks to the Widdingtons? Does the local doctor (David Warner) follow through with his clouded intentions to investigate Andrea's wartime plans (this film takes place btwn. WWI & II)? Is Andrea a potential spy? How does Olga react? But most importantly, do we ultimately care what happens to Andrea & what happens to these lonely sisters? I say, yes.
Veteran British thespian Charles Dance makes an accomplished writing/directing debut here, adapting a gently beguiling short story of love & longing … and how Andrea's presence gives meaning to the sisters' incessantly meaningless lives. I tend to enjoy these subtle movies that kind of creep up & warm over you as each minute passes. I also enjoy these British films set in early 20th century that capture the lives of small town villagers {I am reminded of 1992's Enchanted April}. This understated, subtly character-driven movie is also beautifully photographed by Peter Biziou, and scored with lyrical music by Nigel Hess. The locales are simply gorgeous (sun lit seascapes, cottages, little pubs). And I loved seeing the little slice-of-life characters sprinkled in every scene {I am reminded, for example, of the burly village fish lady}.
Now, if I were to critique one aspect of this film, it would be that the story - while absolutely lovely - lacks some narrative pizzazz. Not that a movie starring Dame Maggie Smith & Dame Judi Dench requires pizzazz; what I mean is that there is no grand crescendo or propulsive plot drive. But when you're watching 2 living legends act together, who cares about pizzazz? Smith & Dench give regal, charming, & thoughtful performances; this is no surprise. Judi Dench is quietly heartbreaking, actually. What she & Maggie Smith do with their eyes and with their line deliveries is just wonderful. I just wish the engrossing, if also unambitious storyline supported their greatness better. Still, 'Ladies in Lavender' is harmless, elegant, thoroughly pleasant, & offers us the sublime genius of 2 fine actresses; aging & improving like fine wine.
Obviously alarmed, the sisters take him into their cottage and, as they nurse him back to health & he recuperates, long buried resentments btwn. them are rekindled. Over time, they discover that their castaway is Andrea Marowski, a Polish Jew who was escaping Nazi anti-Semitism on a ship bound for NY. They also discover, quite comically, that he is an exceptional violinist. The three of them (plus Dorcas) get along swimmingly; he proceeds to steal their hearts. Janet (Smith) does her best to speak as much Polish as she knows, and tends to Andrea, quite like a mother would. Ursula (Dench), however, seems drawn to him in a different way. She almost resents the motherly way in which Janet treats him, because she, herself, seems physically & emotionally attracted to Andrea. This is not to say this 70-ish yr. old female is in love with a 20-something male. She becomes enraptured in the idea that she may have been in love with him or a fellow like him if she were younger. Ursula had never married, and may not have ever been with a man.
Much to the sisters' dismay, Andrea catches the attention of Olga (Natascha McElhone), a Russian painter who is visiting the small town. The sisters become absurdly over-protective and dislike that he now leaves them to visit Olga at her cottage. Olga wishes for her famous Maestro brother, Boris, to hear Andrea play. This could set-up Andrea to play professionally (in concert) with her renowned brother & become famous himself. If Andrea leaves with Olga, how would Janet & Ursula cope with Andrea's absence? Will he acknowledge his thanks to the Widdingtons? Does the local doctor (David Warner) follow through with his clouded intentions to investigate Andrea's wartime plans (this film takes place btwn. WWI & II)? Is Andrea a potential spy? How does Olga react? But most importantly, do we ultimately care what happens to Andrea & what happens to these lonely sisters? I say, yes.
Veteran British thespian Charles Dance makes an accomplished writing/directing debut here, adapting a gently beguiling short story of love & longing … and how Andrea's presence gives meaning to the sisters' incessantly meaningless lives. I tend to enjoy these subtle movies that kind of creep up & warm over you as each minute passes. I also enjoy these British films set in early 20th century that capture the lives of small town villagers {I am reminded of 1992's Enchanted April}. This understated, subtly character-driven movie is also beautifully photographed by Peter Biziou, and scored with lyrical music by Nigel Hess. The locales are simply gorgeous (sun lit seascapes, cottages, little pubs). And I loved seeing the little slice-of-life characters sprinkled in every scene {I am reminded, for example, of the burly village fish lady}.
Now, if I were to critique one aspect of this film, it would be that the story - while absolutely lovely - lacks some narrative pizzazz. Not that a movie starring Dame Maggie Smith & Dame Judi Dench requires pizzazz; what I mean is that there is no grand crescendo or propulsive plot drive. But when you're watching 2 living legends act together, who cares about pizzazz? Smith & Dench give regal, charming, & thoughtful performances; this is no surprise. Judi Dench is quietly heartbreaking, actually. What she & Maggie Smith do with their eyes and with their line deliveries is just wonderful. I just wish the engrossing, if also unambitious storyline supported their greatness better. Still, 'Ladies in Lavender' is harmless, elegant, thoroughly pleasant, & offers us the sublime genius of 2 fine actresses; aging & improving like fine wine.