Miss Pettigrew Lives For A Day

[Sleepless]

This film has been criminally overlooked in 2008. Sure, the trailer makes it look shit, but I actually found it to contain some of the best acting, most interesting moments and my favorite score of the year. I urge you to watch it now, in time for Xixax nominations.

My review (from back in September when I caught the DVD):

SPOILS:

Despite the cast, by the time I got around to seeing this film I wasn't anticipating that much. Which was probably good, because I enjoyed Miss Pettigrew Lives For A Day all the more.

The film is so delightfully charming you really can't help but like it. The story takes place over (slightly more than) a twenty-four hour period as Guinevere Pettigrew (Francis McDormand) finds herself under the employ of wannabe starlet Delysia LaFosse (Amy Adams) by means of subterfuge. Thus the virtually homeless Pettigrew - a failed governess - finds herself in the position of Delysia's social secretary and must help her new charge balance her romances and business dealings concerning three very different men.

The film is set in London at the eve of Britain's involvement in World War II, yet whilst Pettigrew is undoubtedly set in a certain place and time, the aesthetics of the film are thoroughly modern which makes it all the more accessible to a contemporary audience. I'll be honest, I was concerned about a film based on a period novel set largely in one apartment... but director Bharat Nalluri makes it gloriously cinematic. Kudos of course must also go to production designer Sarah Greenwood, art directors Nick Gottschalk and Niall Moroney and costume designer Michael O'Connor.

One of my favorite elements of the film is the infectious score by Paul Englishby. He captures the feel of the film's setting so wonderfully in his swing-based themes it not only keeps a smile on your face throughout, but also emphasizes the sadness inherent in the fact both Pettigrew and Delyisa are pretending to be what they are not, and that the London socialites are still swinging despite the impending war.

Which brings me to what is, in my opinion, possibly the best moment in the entire film. During a party during which Pettigrew has assisted Delysia flip and switch priorities between lovers, she finds a moment for herself to sit and talk alone with her own potential soulmate Joe (Ciarán Hinds). Whilst all the youngsters are out on the balcony cheering the RAF planes flying over the city, Pettigrew and Joe are rather more mournful. "They don't remember the last one," says Pettigrew. "No," says Joe, "They don't." It's such a simple moment, and yet it speaks utter volumes.

The cast, of course, is magnificent. Frances McDormand proves herself an adept actor, adept at handing a variety of comedic and dramatic tones... which leaves you wondering what on earth went wrong in Burn After Reading. But I digress. Amy Adams does what she does best, and although she plays similar to what we've seen her do before, it is impossible not to like her, and unavoidable to get caught up in her excited energy. Ciarán Hinds is rather less animated but lends the film some real sturdiness, and for my money conveys so much inner soul from just a simple gaze he makes Joe both a pillar of masculinity and an admirable gentleman. Special mention also goes to Lee Pace ho gives such a spot-on British accent I was convinced he used to be in Hollyoaks. Which, of course, he wasn't... In fact the only weak spot in the casting, and to be fair, I use that word very lightly, is that of Tom Payne as boyish theatre producer Phil. His performance is without question enthusiastic, but it somehow walks the line between a high school stage show and believable ponce. It's an interesting performance, and no doubt intended to highlight the character's immaturity, however, it's still the weakest performance by far. My judgement on Payne was done no favors by the fact I IMDBed him after the film ended, only to find he is to play Heathcliff in the remake of Wuthering Heights. Blasphemy! But if that's the worst I can say of the film, you know it's gotta be good.

Finally, no summation on this film would be complete without giving the ultimate credit to the screenwriters, David Magee and Simon Beaufoy. The script is so tight, and so perfectly structured, it is a magnificent accomplishment in itself. The tone throughout is perfectly balanced, and both comedy and drama are handled with perfect technique. It is also to Magee and Beaufoy's credit that they take a story which - let us not forget - does take place over the course of just a single day. The fact that by the end of it we are left completely fulfilled - character archs, story resolutions, crises resolved - is a testament to true screenwriting talent. This is a wonderful film. I fully expect it to remain firmly within my top ten by the year's end.

[polkablues]

You know what, I really, really liked this movie. 

That's about all I have to say about it at the moment.