Venus (B or 3/4 stars)
Peter O'Toole tries to convince the Oscar voters that this is HIS time in 'Venus', a dramedy directed by Roger Michell. An elderly, sickly English actor, Maurice Russell (O'Toole), takes-on his best friends' grandniece, Jessie (newcomer, Jodie Whittaker) as a sort of new-age companion (with benefits). Part coming-of-age story, part moral tale, 'Venus' succeeds, not because of a complex plot, cinematography, or excitement ... but because its' actors tell a simple, yet unique story with great wit, timing, poignancy, & subtlety.
Maurice & his best pal, Ian (Leslie Phillips) were once successful thespians, but now are increasingly decrepit blowhards; going on & on in comic flourish with every single ache & pain they own. They head to the local coffee shop, grab the paper to read the obituaries, fantasize about impending death, & discuss the banality of their lives with such zip and sarcasm that all I could do was grin and chuckle. Because Ian is particularly fearful of his old age, he agrees to let Jessie inhabit his home as a sort of caretaker. The problem is, he's too much of a stuck-in-his-old-ways-worry-wart, and she's too much of an immature, rude bitch, that they simply can't abide each other. That is until Maurice steps in to take her under his wing.
Aside from being physically attracted to her (although he is impotent), he sees some potential in the precocious brat, yet. He offers to take her to lunches, dinners, plays, museums, etc. God knows if he has the money to do this all. He's even got her a job as a nude model. A hysterical scene ensues when he tries to peek-in on the very naked Jessie. What? An old man isn't allowed to get his jollies?
But in all seriousness (and with great care & kindness) he's just trying to rein her in and hone the potential for humanity under her prickly outer-layers. At a museum, he shows her the Venus di Milo with great purpose. He tells her that the female body is the most beautiful thing for most men. When she flippantly asks what the most beautiful thing is to a woman, his reply is 'any woman's newborn baby'. Because we think we know him as a sort of dirty 'ole man, his thoughtful reply surprised me & it practically knocked Jessie off of her feet, as well.
Because he is in love with her, and because she's a free spirit who is thankful for his guidance, some icky scenes follow; though, none involve sexual relations. The plot takes a dark turn and I don't care for much of the 3rd act. But there is a wonderful, therapeutic scene involving Maurice & Jessie at the seashore. And while the film begins with boisterousness; it ends on a decidedly melancholy, reflective note; but not one that's inherently depressing.
This is a fairly existential story. But it's also original enough in that ... it's easier to understand how an man in his mid 70's could platonically fall in love with a 20 yr. old girl, & vice-versa. We never see older gentlemen as having sexual fantasies. But this movie makes it clear that they still desire power & vitality; they're not just waiting for death to arrive. O'Toole is fantastic in this role. Although he's feeble ... his zest, sage words, & lion-like voice command every scene. Even his dead-like eyes have a personality of their own. And some memorable scenes between him & his ex-wife (Vanessa Redgrave) evoke timeless love, regret & forgiveness. This film may bore some, but it provided me a window into a time of life that's rudely neglected.
Maurice & his best pal, Ian (Leslie Phillips) were once successful thespians, but now are increasingly decrepit blowhards; going on & on in comic flourish with every single ache & pain they own. They head to the local coffee shop, grab the paper to read the obituaries, fantasize about impending death, & discuss the banality of their lives with such zip and sarcasm that all I could do was grin and chuckle. Because Ian is particularly fearful of his old age, he agrees to let Jessie inhabit his home as a sort of caretaker. The problem is, he's too much of a stuck-in-his-old-ways-worry-wart, and she's too much of an immature, rude bitch, that they simply can't abide each other. That is until Maurice steps in to take her under his wing.
Aside from being physically attracted to her (although he is impotent), he sees some potential in the precocious brat, yet. He offers to take her to lunches, dinners, plays, museums, etc. God knows if he has the money to do this all. He's even got her a job as a nude model. A hysterical scene ensues when he tries to peek-in on the very naked Jessie. What? An old man isn't allowed to get his jollies?
But in all seriousness (and with great care & kindness) he's just trying to rein her in and hone the potential for humanity under her prickly outer-layers. At a museum, he shows her the Venus di Milo with great purpose. He tells her that the female body is the most beautiful thing for most men. When she flippantly asks what the most beautiful thing is to a woman, his reply is 'any woman's newborn baby'. Because we think we know him as a sort of dirty 'ole man, his thoughtful reply surprised me & it practically knocked Jessie off of her feet, as well.
Because he is in love with her, and because she's a free spirit who is thankful for his guidance, some icky scenes follow; though, none involve sexual relations. The plot takes a dark turn and I don't care for much of the 3rd act. But there is a wonderful, therapeutic scene involving Maurice & Jessie at the seashore. And while the film begins with boisterousness; it ends on a decidedly melancholy, reflective note; but not one that's inherently depressing.
This is a fairly existential story. But it's also original enough in that ... it's easier to understand how an man in his mid 70's could platonically fall in love with a 20 yr. old girl, & vice-versa. We never see older gentlemen as having sexual fantasies. But this movie makes it clear that they still desire power & vitality; they're not just waiting for death to arrive. O'Toole is fantastic in this role. Although he's feeble ... his zest, sage words, & lion-like voice command every scene. Even his dead-like eyes have a personality of their own. And some memorable scenes between him & his ex-wife (Vanessa Redgrave) evoke timeless love, regret & forgiveness. This film may bore some, but it provided me a window into a time of life that's rudely neglected.