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Posts Tagged ‘Ordinary Love’

Off to the cinema, just for a change – it gets me out of the house when I’m not working, if nothing else.

‘One for Ordinary… erm… Life?’ I requested, finding myself struggling to recall the exact wording of the title.

Ordinary People,’ chimed in the cinema manager, with (as it turned out) a wholly unwarranted aura of cheerful confidence.

Ordinary Love,’ said the minion actually operating the ticket apparatus.

Well, if we could agree about one thing, it was that the film was certainly ordinary. I do wonder if the people who name films often think ahead to the possible consequences of some of their choices. There’s a good reason why no-one, to my knowledge, has released a movie called Complete Trash. Would Ordinary Love prove to be quite as unremarkable as its title suggested?

One way to find out: off up to the theatre (probably the smallest in Oxford) which remained almost entirely unoccupied and annoyingly over-illuminated for the next couple of hours (but then it was a midweek lunchtime showing). Then it was time for my theory that you can get a pretty good sense of what a movie is going to be like from the trailers running in front of it to take a bit of a kicking, as we were treated to yet another promo for the new Jumanji film (currently the recipient of the saturation publicity treatment, in the hope of prying a few viewers away from the looming stellar conflict juggernaut), a potentially-gimmicky looking film about the First World War, and no fewer than three trailers for social justice movies about the black experience in contemporary America.

None of which really had much in common with Lisa Sarros D’Sa and Glenn Leyburn’s film, which concerns a married couple living (it would seem, not that it particularly matters) somewhere in Ulster. This is a bit of a case of big stars carrying a modest movie, as they are played by Lesley Manville and Liam Neeson. They are retired (although I found myself imagining that Neeson would still occasionally pop out to deliver the odd vengeful beating to a deserving target) and live a comfortable life in every sense of the word: they are not especially demonstrative, but then there is no reason for them to be. Manville and Neeson evoke this atmosphere of relaxed, easy intimacy superbly.

And then, of course, something changes: Manville’s character, Joan, discovers a lump in one of her breasts. Quite sensibly she and Tom (Neeson’s character) decide to get it checked out. Initial tests are inconclusive, but the definitive news, when it comes, is bad (as one might expect, given that ‘woman turns out not to have cancer’ isn’t much of a premise for a movie). She is prescribed surgery, then a gruelling course of chemotherapy, and then further preventative surgery at the end of it all. It is a hard road, and one which inevitably puts a strain on what initially seems like the unshakeable bond which they share.

So, obviously, this is not exactly escapist entertainment (or, if it is, I shudder to imagine what your personal situation must be like). No matter how well made it is, one has to wonder what the point of yet another cancer movie is: God knows there have been enough of them in the past, after all. Is it just a case of this being a calculated pact between performers and film-makers? This is the kind of film where the performances attract awards attention, while such a determinedly low-key movie would probably struggle to even get noticed without stars of the calibre of Neeson and Manville raising its profile.

And there is a further point to be made, probably. One has to be fairly lucky these days, I think, not to feel the baleful touch of King Crab upon one’s own life: my own tally includes two aunts, one uncle and a cousin. But it is one of those experiences which is both near-universal and deeply personal at the same time – it is different for everyone, simply because so much depends on the personalities and relationships involved. Furthermore, many films about cancer are not cancer films, they are films about Movie Cancer – a usefully vaguely-defined disease, which usually leaves the afflicted party looking very photogenic right up until their passing becomes imminent, or they reach the hump of their treatment and then make a fairly brisk recovery. Perhaps melodrama is just the default setting for this kind of movie – making any other kind of statement is very difficult, as the more general the message you try to put across, the greater the danger of just saying something glib or facile.

Most of the time, Ordinary Love manages to dodge this particular problem, by being effectively understated and low-key and concentrating on presenting a believable relationship between the two main characters. Most of the movie is essentially a two-hander, one long conversation between Manville and Neeson: and they don’t spend the whole time talking about terminal diseases, either. They talk about brussel sprouts, and feeding their goldfish, and how much beer he’s drinking; they argue about how a Fitbit works. The fact that they don’t discuss the cancer says as much as any protracted dialogue scene could achieve. And when the strain takes its toll and they do argue with each other, you feel it all the more: it has that horrid sense of how people who love each other know the best way to hurt each other, too.

And yet the film blows it, just a little bit, by inserting a subplot about their past: it transpires they had a daughter, who died young, some years earlier. The details are left intentionally vague, but it just feels like something that’s been added to give the characters one more thing to emote about. The film ends up presenting a rather eggy scene with Liam Neeson delivering a monologue to a gravestone that feels slightly corny and rather out-of-character for the man he is playing here. It does risk tipping the film over into melodrama: living with cancer is something many people can relate to, but being hit by cancer after losing a child pushes things slightly towards Book of Job territory.

It’s a shame, because this is the only real blip in an otherwise strong movie. Its success is mostly down to the leads. You almost feel a bit sorry for Lesley Manville, for she has spent most of her career being quietly excellent in films not entirely unlike this one, and praise for her performance may well include words like ‘naturally’ and ‘characteristically’. Liam Neeson, on the other hand, has spent so much time appearing in head-banging action movies over the last decade or so that one is wont to forget just what an effective and understated serious actor he can be. (Maybe he should give Lesley Manville the phone number for Luc Besson.) Perhaps he gets a slightly showier part, but this is still solid work in an impressive movie. Ordinary Love is more than good enough to justify its own existence, and manages to make its theme simple enough to be easily communicated, but not so simple as to be worthless. A fine piece of work.

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