Film review: 'Agnes Browne'
In her second feature as director, Anjelica Huston delivers an evocative, easygoing Irish comedy that would have made her father proud. The beautifully matured actress also plays the lead role, something John Huston never pulled off -- unless you count his bearish portrayal of Noah, as well as providing the narration and voice of God, in his 1966 film "The Bible".
Premiering as the closing film in the Director's Fortnight sidebar to the Cannes International Film Festival, "Agnes Browne" in many ways is a throwback to "women's films" of decades past and will likely find its audience over time. Not at all edgy and tragically sad in only a few places, Huston's straightforward rendering of demoralizing urban lives has a crowd-pleasing sense of humor. Still, the October Films release has limited appeal.
Adapting his novel "The Mammy", Brendan O'Carroll co-wrote the screenplay with John Goldsmith. Set in central Dublin in 1967, the literate but far-from-Joycean scenario centers on how newly widowed Agnes Browne (Huston) and her many children stick together during difficult times.
A purveyor of fruit and vegetables in a modest stall on Market Street, Agnes is a big-hearted survivor with a foul mouth and a long life ahead of her. Her best friend Marion Marion O'Dwyer) is not so lucky, and their girlish good times as Agnes starts over in romance soon enough become a sad refrain of loss and wrenching grief.
With Agnes' deceased husband not talked about much by her or the children, the story's two significant male characters are polar opposites. Pierre (Arno Chevrier) is a dreamboat French baker who is not easily discouraged and delicately puts all the right moves on the heroine. Mr. Billy (Ray Winstone) is an odious loan shark who likes to beat up kids and terrorize poor widows.
Episodic, finally building to a big, upbeat finish with Agnes' hero, the singer Tom Jones, literally saving the day -- surrealistically, the young singer is played by the real Jones -- "Agnes Browne" deals with serious material in fairly superficial ways, but the filmmaking is accomplished and the characters are pleasingly fleshed out.
Newcomer O'Dwyer and Huston have magical chemistry in many of their scenes, and the supporting cast is grand. The humor involves some crude language, but overall the film is well-crafted and sincere.
AGNES BROWNE
October Films
A Hell's Kitchen production
Director: Anjelica Huston
Producers: Jim Sheridan, Arthur Lappin, Anjelica Huston, Greg Smith
Screenwriters: John Goldsmith, Brendan O'Carroll
Executive producers: Morgan O'Sullivan, Tom Palmieri, Laurie Mansfield, Gerry
Browne
Director of photography: Anthony B. Richmond
Production designer: David Brockhurst
Editor: Eva Gardos
Costume designer: Joan Bergin
Music: Paddy Moloney
Casting: Maureen Hughes
Color/stereo
Cast:
Agnes Browne: Anjelica Huston
Marion Monks: Marion O'Dwyer
Mr. Billy: Ray Winstone
Pierre: Arno Chevrier
Mark Browne: Niall O'Shea
Frankie Browne: Ciaran Owens
Cathy Browne: Roxanna Williams
Running time -- 92 minutes
MPAA rating: R...
Premiering as the closing film in the Director's Fortnight sidebar to the Cannes International Film Festival, "Agnes Browne" in many ways is a throwback to "women's films" of decades past and will likely find its audience over time. Not at all edgy and tragically sad in only a few places, Huston's straightforward rendering of demoralizing urban lives has a crowd-pleasing sense of humor. Still, the October Films release has limited appeal.
Adapting his novel "The Mammy", Brendan O'Carroll co-wrote the screenplay with John Goldsmith. Set in central Dublin in 1967, the literate but far-from-Joycean scenario centers on how newly widowed Agnes Browne (Huston) and her many children stick together during difficult times.
A purveyor of fruit and vegetables in a modest stall on Market Street, Agnes is a big-hearted survivor with a foul mouth and a long life ahead of her. Her best friend Marion Marion O'Dwyer) is not so lucky, and their girlish good times as Agnes starts over in romance soon enough become a sad refrain of loss and wrenching grief.
With Agnes' deceased husband not talked about much by her or the children, the story's two significant male characters are polar opposites. Pierre (Arno Chevrier) is a dreamboat French baker who is not easily discouraged and delicately puts all the right moves on the heroine. Mr. Billy (Ray Winstone) is an odious loan shark who likes to beat up kids and terrorize poor widows.
Episodic, finally building to a big, upbeat finish with Agnes' hero, the singer Tom Jones, literally saving the day -- surrealistically, the young singer is played by the real Jones -- "Agnes Browne" deals with serious material in fairly superficial ways, but the filmmaking is accomplished and the characters are pleasingly fleshed out.
Newcomer O'Dwyer and Huston have magical chemistry in many of their scenes, and the supporting cast is grand. The humor involves some crude language, but overall the film is well-crafted and sincere.
AGNES BROWNE
October Films
A Hell's Kitchen production
Director: Anjelica Huston
Producers: Jim Sheridan, Arthur Lappin, Anjelica Huston, Greg Smith
Screenwriters: John Goldsmith, Brendan O'Carroll
Executive producers: Morgan O'Sullivan, Tom Palmieri, Laurie Mansfield, Gerry
Browne
Director of photography: Anthony B. Richmond
Production designer: David Brockhurst
Editor: Eva Gardos
Costume designer: Joan Bergin
Music: Paddy Moloney
Casting: Maureen Hughes
Color/stereo
Cast:
Agnes Browne: Anjelica Huston
Marion Monks: Marion O'Dwyer
Mr. Billy: Ray Winstone
Pierre: Arno Chevrier
Mark Browne: Niall O'Shea
Frankie Browne: Ciaran Owens
Cathy Browne: Roxanna Williams
Running time -- 92 minutes
MPAA rating: R...
- 6/2/1999
- The Hollywood Reporter - Movie News
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