February 2002

Here’s a picture from the television advert Richard did for the BAFTA Awards in February. It’s not a very good pic as Sue W. grabbed the first camera in plain sight in her hotel room and didn’t have time to think about turning off the flash, but it’s better than nothing!

Don’t forget (for all you Brit types) that Richard is reading a play today. Below is a short preview of it.

Pick of the day
Harold Jackson
Guardian
Thursday February 14, 2002

Some years ago, playwright James Whyle’s brother handed him a packet of letters stored by the family after their father’s early death. In 1911, aged 14, he had emigrated to South Africa but soon found himself back in Europe as a soldier in the first world war. The experiences he reported back to his uncle are the basis of the Afternoon Play: Dancing With The Dead (2.15pm, Radio 4). Featuring Richard E Grant, the piece starts slowly, but stick with it. It becomes a well-observed and moving tale.

Pat sent in a cute pic of REG with Olivia which you can see here. It’s an older pic but it’s still a very nice one!

Denise has written a review of Gosford Park and I just thought I’d add it here for all to read:

“As I sat down to view Gosford Park with Becky and Gina the thought crossed my mind, “Could the film live up to its hype?” Five minutes in and Becky leant over and gushed in my left ear “This is wonderful!” I nodded my agreement. The film is deliciously wicked as it allows the viewer to observe the idiosyncrasies of people who are unaware they process any. The plot is not overly complex and is certainly not the strength of this movie. The structure of this film is in its interplay of characters and the contrast between the vital world below stairs and the bored existence of the upper classes. The introduction of an American into this world provides an alien perspective though which the audience can identify.

One of the complexities of the film is in remembering who’s who, especially upstairs. “Which one’s Lord Stockton?” whispered Gina in my right ear. And a discussion on the journey home revealed that Becky believed Sylvia’s sister was her daughter, which would have given her a very odd relationship with Bill! My advice is to pay attention to those casual introductions – you will be tested later!

I also wished that I had known more about the Charlie Chan movies that the Americans supposedly produced. Research afterwards revealed that there were a series of thirties B movies in which a Chinese detective competently solved crimes. Thus Stephen Fry’s bumbling detective is an antithesis of this fictional character. Perhaps there is an element of truth in that a modern audience, used to watching TV detectives gather evidence and solve crimes, are more knowledgeable about the methods of deduction than a nineteen-thirties, English, police inspector would have been. As Stephen Fry’s performance has been highlighted in several reviews as the weakest link perhaps I am looking to justify it. However as the audience I was with definitely found it amusing perhaps that is sufficient justification for its presence.

One of the “advice-bytes” a writer is always reading is “show, don’t tell.” Early in the movie Elsie (Emily Watson) warns Mary (Kelly MacDonald) of “George’s wandering hands.” However throughout the movie there is no indication of this vice from George (Richard E Grant). Although nicotine addiction and a willingness not to waste good wine are displayed! In a film of outstanding performances of course Richard’s was one of my favourites, with his malicious remarks and permanent expression of disdain there was a definite edge to his presence in any scene. Another character I enjoyed watching was Mabel, the wife of the obnoxious Nesbit (James Wilby) who had only been invited to make up numbers. She is the female outsider in this upper class habitat and is easy to overlook as unimportant. No character in this tableau is unimportant. The most memorable dialogue is in the expert hands of Maggie Smith who delivers it with such a wonderful, naivety that she reminded me of my 7 year old, who seems to specialise in outrageous comments issued in total innocence.

My impression, from the Altman Omnibus, was that the director wanted to remove that “air of knowing” which permeates most period dramas. In the finished product I was aware of his success in this endeavour. The film is a glimpse into a moment of people’s lives. Everyone is busy with their own lives, and, particularly with the staff, we are conscious of their individuality. There are reflections on the past, but there is a stronger awareness of the present. The future has not happened yet. The death of the master may force the sale of the house, there may be a trial, a film may be made and a war may be coming, but in the meantime the silver has to be polished, and meals cooked and served.

Finally, before you all think this hierarchical society is part of British history. I recently viewed a documentary on Windsor Castle where a servant was measuring the distances between place settings, for a banquet, exactly as George had in Gosford Park. A dying breed yes, but please do not make the mistake of thinking it extinct yet.”

Gosford Park was nominated for best picture, director, art direction, costume, screenplay, and Mirren and Smith for supporting actress. It’s in there amongst some pretty tough competition as far as picture or director are concerned, but art direction would be nice “consulation” prize. It is a beautiful film to watch during any scene.

Sue tells me that Richard has written an article which appears in the USA March 2002 In Style Magazine. Titled “Reel Estate” Actor Richard E. Grant takes an offbeat, witty look at trailers – those aluminum-sided sanctuaries for stars on location – with shots of Brad Pitt, Hugh Grant, Reese Witherspoon and more. No pic of our Richard though, but if anyone out there has a copy of the article and can type it up for us here at the Temple we’d be mighty grateful for it.