User reviews

This is one of those movies that grows on you once the credits are done. Quickly paced, sharply written and deftly acted, Venus is a movie that unfolds so quickly that one is immersed in the action from the very start.

The background is actors living off small pensions and acting jobs in working class London. The cinematography catches the dullness of the surroundings and one is easily transported into this world of sameness, peppered by occasional wonderful lapses back into the magic of acting and well written lines. Their world, and also the girl's world is turned upside down by meeting one another.

O'Toole is wonderful as Maurice, the ex-raconteur who proves that love, lust, flirtation and marvel are attributes that never go away with age. It's a delight to see these feelings rekindled in the old man, and O'Toole is the master of bringing zest and poignancy to the screen. Just going to see him quote Shakespeare is worth it alone. The setting in which he does it is unexpected and moving.

Jodie Whitaker is indeed a fresh new face. Without airs, this actress expertly matches wits with O'Toole. She conveys the right amount of grittiness, insecurity and bravado as a teenage girl thrust into the big city without a concrete plan would. The growth in her character takes place when an event that she has caused takes place, and she must either own up to what she has done, or forever be stuck in the life as a yob's girlfriend.

Vanessa Redgrave and all the others round out an honest cast that isn't afraid to let "Hollywood" see their age. This is acting "sans botox," and what a delight it is to see. This is smart writing, good thinking, and gutsy in a day when actors are expected to look a certain way even in old age. It's a delight, and trounces all stereotypes about aging.

There are lines here which are utterly breathtaking in their insight and playfulness. The writer is to be applauded for not falling back on the "senior citizen" stereotype. O'Toole's character swoons, he drinks in the quixotic experience of remembering the beauty of a naked body, of kissing a woman's neck, of the entire and total experience of falling in love, of pleasure, and of jealousy and of heartbreak as well. Young screenwriters should take note: write against type and delve into the real human experience, the one that everyone else tries to conveniently box away.

Why an 8, and not a 10? There were some choppy bits of editing. I would have liked to see even more growth and recognition in Maurice. Just a bit more from the writers would've brought it all the way home with the same aplomb given by O'Toole. But overall, a movie worth seeing, a performance worth rewarding. Bravo! Well done. Applause for Mr. O'Toole.

I strongly suspect that Peter O'Toole, in his new film "Venus," plays a character not far removed from himself. This may prevent his performance from joining the ranks of some of his greatest cinematic achievements, since it probably didn't provide as much of a challenge to him, but that's not to say that he isn't marvelous in this film, and shouldn't be commended for taking on this brave and unflattering role so late in his career.

In "Venus," O'Toole plays Maurice, a famous stage and screen actor pushing 90, who's struggling mightily to prevent his days from slipping into the routine loneliness of old age. He's on friendly terms with his wife (Vanessa Redgrave, who has a couple of wonderful moments in this film), who he walked out on years ago, but never sees his children, who haven't forgiven their father for deserting them. The time he doesn't spend at doctors' offices or willing himself to get out of bed every morning he spends with his cantankerous best friend, a fellow actor, reminiscing about their best roles.

When the friend takes in his niece's sullen daughter as a live-in assistant, O'Toole immediately finds himself in love with her, or at least in love with the idea of her, and the two strike up an awkward, and at times most uncomfortable relationship of sorts.

What distinguishes "Venus" from other stories like it is the nature of the central relationship. This is no sweet, chaste friendship a la "Lost in Translation." For one, the age difference here is much greater. But beyond that, the relationship between Maurice and his Venus is distinctly sexual. It's clear that Maurice would go as far as Venus will allow, which isn't far, but is far enough to have made me squirm a bit in my seat at moments. For her part, Venus uses her beauty, and her knowledge of Maurice's desire for her, to her advantage, receiving gifts in return for her "favors." The film establishes both Maurice and Venus as somewhat unsympathetic characters, which prevents the film from becoming too maudlin. But there's also a great reserve of kindness in both of them, and each enables that to come out in the other. In the end, each of these characters is a bit better off for having known the other.

"Venus" is slow moving, and it's not a profound film. But it is refreshingly free of pretense, and it provides one with the chance to see Peter O'Toole, one of my favorite actors, showing the world that he's still got it after all these years.

Grade: B+

If Peter O'Toole's mesmerizing, fearless, and endearing performance was the only positive aspect of Venus, it would still be well worth seeing.

I was pleasantly surprised that the sharp wit and general delightfulness promised by the theatrical trailer for this film delivered the goods.

Like the critically acclaimed and popular film from 2004, Sideways, this well-written bittersweet comedy celebrates what is means to be fully human by presenting us with complex, flawed characters who don't always behave the way they should- and our hearts end up bleeding for them as much when they're bad as when they're good.

With the simple story line about an aging British stage actor who develops an "interest" in his best friend's great niece, Venus artfully widens into a realistic exploration of how different relationships in our lives fulfill some needs, but not all, and how aging threatens aspects of our identity, but leaves other core pieces intact.

The scenes with "Maurice" and his actor friends are absolutely delightful and perfectly executed. The two wonderful scenes between "Maurice" and his estranged wife (a marvel of a performance by Vanessa Redgrave) are both heartwarming and heartbreaking.

The core of the story- the not-so-kosher, yet not-nearly-as-revolting as-you-might-think relationship between "Maurice" and "Jessie" (an impressive Jodie Whitaker) avoids all clichés and predictability found in Hollywood movies, and presents the viewers with a believable, engrossing slice of life, and fully invests them with an emotional stake in these characters' outcomes.

Venus is an expertly acted, beautifully written little gem that hopefully will not get lost among the more hyped (and over-blown) late year offerings. If The Academy decides to reward Mr. O'Toole with an Oscar for this performance, it will be one that is well deserved and won't be dismissed as "the sentimental choice." Treat yourself to the best adult comedy of 2006, and one of the best performances of the year.

I came to this film with high expectations, having been led to believe that it dealt bravely and honestly with sexuality amongst old people. I found the acting excellent. However, the behaviour of the people in the film was frequently tawdry and exploitative. If a younger man had been shown behaving as did the character played by Peter O'Toole he would, I believe, have been recognised as the moral incompetent that he is. To expect us to sympathise with this, simply because he is old is a form of inverse ageism. The same applied to the responses of the so-called "friends" who, when he needed assistance when he was ill, were noticeable for their unwillingness to help. Again, these responses are not rendered acceptable because of the age of the characters concerned. If, on the other hand, we were supposed to find them all uncongenial - why bother at all? The transformation of the young women I found completely implausible on the evidence we were given. Disappointing.

I, like most people, thought twice about spending a good few hours of my life watching an old man fall in love with a teenager, but my respect for O'Toole and a free ticket voucher at the Denver Film Festival were more than enough to motivate me to see the film. Had I not gone, I would have made a serious mistake. O'Toole's performance is as good as anything he's done, and the whispers about Oscars might just have something behind them. Somehow, Roger Michell directed this film so beautifully that nothing that occurred between Maurie and Jessie seemed morally ambiguous whatsoever. Maybe it was the pairing of scenes with poppy Corinne Bailey Rae music that made it seem so natural, but I strongly suspect otherwise. O'Toole, paired with a beautiful performance by virtual unknown Jodie Whittaker, takes us into a world that disregards social boundaries and replaces them with raw human emotion and understanding. Though O'Toole's performance captivates the Oscar attention of anyone who sees the film, the supporting role played by Leslie Phillips was essential to the film's success. The relationship between Phillips and O'Toole's character had the entire theater laughing just seconds into the film. Overall, a cast of entirely endearing characters and knockout performances by O'Toole, Phillips, and Whittaker make Venus one of the best films I've seen in 2006.

There is poetry to Peter O'Toole's performance in "Venus"; it is so effortless, so seamless, so beyond "acting" that it tempts the rest of us to give up and hand in our union cards. No actor in memory has so finely embraced with voice Shakespeare's "Shall I compare thee to a summers day...". This is as fine a vintage as you'll ever find! Perfection. Roger Michell delivers a superb cast all around. Jodie Whitaker hands in a lovely nuanced performance, especially for a newcomer. Together with O'Toole, Leslie Phillips and Richard Griffiths present a marvelous portrait of aging actors. Michell deftly makes us laugh at some things simply because it hurts too much to weep. This is such a beautifully layered and rich film one may want to revisit it time and again.

Michell tells an unconventional story of an aged actor who's fallen for a very young lady. What makes this story different from other old v/s young love stories is that the relationship is very sexual in nature. Maurice clearly sees Jessie as a very sexual being and he would definitely go far enough if she had allowed it. Yet, Jessie herself isn't completely innocent. She is completely aware of his feelings and takes advantage of it. While this part of their relationship is uncomfortable to watch, there is another side to it. Maurice clearly is infatuated with this girl but he never forces himself on her. On the one hand his despair is understandable as he's a man in the last stage of his life. He's maintained a friendly relationship with his estranged wife but his children won't have anything to do with him. He chats with his friends at a café. The only roles offered to him are those of corpses. While he struggles getting up from bed to live his miserably lonely life, it is the entrance of Jessie that changes that. She's young. She's attractive. She's vibrant (though a little tempered). The young Jessie isn't evil either. She too enjoys Maurice's company. Perhaps her feelings towards him were part sympathy part affection. Though both characters are initially portrayed in an unsympathetic way, they manage to build a bridge that connects to the viewer.

Hanif Kureishi is known for telling stories about unconventional relationships and here too he does a good job. It is well paced. Some might find it slow but I think it works for this kind of film. The dialogues are solid, both funny, poetic and get you to say 'hmm!'. Also the comedic situations are well executed like the one where Maurice and Jessie go shopping and Maurice only offers to pay 20. The cinematography and score do a good job of demonstrating the loneliness, dullness and somewhat carelessness of London. Meanwhile Corinne Bailey Rae's soothing voice highlight the gentle songs.

Peter O'Toole delivers a marvelous performance. I'm glad to see that actors like him and Vanessa Redgrave do not shy away from playing such roles of elderly people. He is charming, kind, passionate (with Venus), somewhat appalling and sympathetic. Redgrave has two scenes of which she does nothing short of greatness. Confidant newcomer Jodie Whitaker more than just holding her own to veteran O'Toole. She adds a freshness and displays Jessie's growth with great confidence. Leslie Phillips too does a fine job as Maurice's friend. He's particularly funny in the scenes where he expresses his dislike for Jessie.

'Venus' is a refreshing, sincere little film sans pretense. It's got wonderful performances, intriguing characters, solid dialogue and an unusual story.

I watched Venus in Istanbul Film Festival. Venus is not the funniest or the most impressive movie about old age, I've ever seen. However, I think the director's intention is not that. Obviously Venus has a nostalgic perspective and shows old ages successfully; however, Venus joins old and new. When Maurice meets Jessie, Maurice again finds beauty in the goddess Venus. After that Maurice is rejuvenated. At the same time, Maurice feels the breath of death on him. Perhaps, he had a great wish for being immortal, he realizes that it's impossible. This scene is the one of the most tragic scenes of the movie. Mostly the humour is effective, although we always feel melancholy. The places which the director chose and the dark colours that he used in the film stand out. In addition, Peter O'Toole's (Maurice) acting is marvelous. As a result, if you haven't great expectations Venus, you can experience different feelings about this movie.

BuRnOut_TR

Peter O'Toole, as a great actor, has a certain transcendent charisma that has not diminished with age. It is well worth it to see this movie just for him. The life affirming message implicit in his brilliance preserved in old age goes well with the main theme of the film itself, which is the perseverance of vitality in the elderly.

The movie is a black comedy, and achieves both the blackness and the comedy perfectly. A scene where O'Toole accidentally barges into a room where his young love interest is modeling nude (while trying to spy on her)is especially hilarious. And his attempts to deal with catheter troubles are darkly hilarious. The movie is a poignant portrait of old age and an uplifting story of young love.

A lot of people were offended by the idea of an old man slavering over a young girl. I guess it is pretty offensive when stated baldly like that, but that's the danger is stating things simply about people and life. The story is about a young woman who meets an old man who still finds women interesting and attractive, even though there is nothing he can do about it. At least, there is nothing he can do about it physically. He can be charming and entertaining. He can introduce her to a larger world. He can make her understand that there is much more about life than she ever dreamed there could be. The phrase "celebration of life" is a tiresome cliché but there is no other way to categorize this film. Well, maybe is shouldn't be categorized, just as life itself should not be categorized. It should just be experienced, and you take out of it whatever you can get.

More Mother than Notting Hill. Peter O'Toole is brilliant -- creepy, lovable, objectionable and yet so vulnerable as the aging, forgotten actor in this "kind of makes you squirm in your seat" love/obsession story. I viewed it at the closing night of the Chicago International Film Festival. The tone and feel of the film places you squarely in Maurice's (O'Toole) gloomy, last chapter of life journey as well as Jesse's (Jodie Whittiker) bratty, just getting her own life started journey. Outstanding cinematography, score and music. Wonderfully haunting! V. Redgrave is terrific and beautiful. Oscar's all around for this funny, sometimes creepy, real look at two people finding each other at the most unexpected time in their lives.

In 1955, Russian author Vladimir Nabokov stood the world on its ears with a devastatingly sexy novel called "Lolita," the story of a middle aged man sexually obsessed with a pre-pubescent twelve-year old girl. Some literary experts classify it as one of the most important novels of the 20th century because finally, the wraps had been removed off public dissemination of something called sexual repression. Until that book became known worldwide, sex in movies was only hinted at, never explored. Here we are, more than fifty years after the shocker hit the bookshelves followed by the motion picture and Lord knows how many spinoffs can be attributed to that theme, give or take ages, circumstances etc.

"Venus" is just one more example of the impact of Nabokov's masterpiece and in this case we have a way over-the-hill 74 year old English Shakespearean actor played by Peter O'Toole obsessed with a teen girl who is the daughter of the niece of his best friend, also an aged actor. The girl was sent to care for O'Toole's friend who can't stand her which conveniently allows O'Toole's lust to blossom.

"Venus" is by no means a "dirty movie." It's suggestive, trite, very slow moving but still allows O'Toole's mastery at acting to come through strongly enough to have given him a nomination for Best Actor of 2006. Although his performance is excellent, I feel it doesn't warrant the Oscar so if he does win one, it'll be based on sentimentality rather than merit. Keep in mind although he has been nominated for seven Oscars:

MY FAVORITE YEAR (1982) THE STUNT MAN (1980) THE RULING CLASS (1972) GOODBYE, MR. CHIPS (1969) THE LION IN WINTER (1968) BECKET (1964) LAWRENCE OF ARABIA (1962)

he's won none except for a special honorary award statue in 2002. This might FINALLY be the year as his career come to a close.

A feel good movie that still leaves you feeling like you need a shower. Some uncomfortable scenes and a few directorial flaws (a speedy montage during a trip to the shore is particularly out of place) don't detract from solid acting from the cast as a whole and a brilliant performance by Peter O'Toole in particular. This strange take on the Pygmalion story is well supported by Jodie Wittaker as the title character and Leslie Phillips as the friend that everyone needs to either accompany you or drive you to the grave. But it is O'Toole's performance that makes this movie worth the price of a ticket. If he doesn't finally win an Oscar for this I might have to start fund-raising to buy him one.

You can see as lecherous grey porn for the wrinkling erectile dysfunction set but Roger Mitchel's tale of ageing actor O'Toole in the last flush of feelings with the wanton Jodie Whittiker is a sometimes uncomfortable but emotionally convincing meditation on old age and its ability to ruin the body while leaving the spirit frustrated but youthfully intact.

The pleasure here is watching veterans like the aforementioned O' Toole and Leslie Philips is such blistering, devil may care form. They're double act is the best reason to see Venus, brimming as it does with the sort of easy going confidence borne of a 100 plus screen performances and a lifetime in front of the camera. Whittikar as the object of the veteran thesps' dirty old eye is quite sweet and her discomfort at the wrinklies sexual interest acts as a neat surrogate for the rest of us, meaning we can watch the relationship unfold without vomiting uncontrollably.

The scenes in which O'Toole contemplates the end of his life and his glory days carry genuine pathos, not least because the man is no spring chicken himself and he, like his character, may not have too many more spells in the spotlight left. With that in mind you should definitely seek out this performance but be aware that some of the sexual overtures made to the fair Whittikar who both writer and director can't resist leering at themselves, may make you squirm in your seat as much as laugh. Incidentally O'Toole's humour is still dry as dust and he's lost none of his exquisite timing - I hope the image of him feeling up an 18 year old isn't one of the last things I get to see him doing. No, really.

Peter O'Toole is one of my favorite actors and it's always been sad for me to think of him dying off without an Oscar. He's given great performances and my favorite is The Lion in Winter (for which he SHOULD have won). However, Venus has proved to be what is possibly his last chance at getting an Oscar. He is just wonderful in all his scenes. The film is very lovely, sweet, charming and funny. Jodie Whittaker is just lovely and a very talented upstart. However, if any other character deserved an Oscar, or a nomination, it is the great Vanessa Redgrave who has stood firm in being a great talent and hasn't even started to fade away like O'Toole almost did. Her scenes aren't that big but she leaves a lasting impression. She still looks beautiful at 69 and she still shows the same display of emotion as she did in her star making breakout role as Rosalind in "As You Like It" to her recent released film "The White Countess". She and O'Toole play off each other very well. This is a wonderful first film for them. See the movie, I know you'll enjoy it.

Venus is a movie that killed its box office by having a poster that portrayed Peter O'Toole as a certifiable madman.

Maurice (O'Toole) is an elderly roguish actor with prostate cancer. He knows his end is near.

Maurice regularly meets up with fellow actor Ian (Leslie Phillips) where they verbally spar and reminisce about old times.

When Ian's niece's daughter Jessie (Jodie Whittaker) comes to stay as her carer. Maurice is fascinated with this young brassy northern lass.

Jessie eats Pot Noodles, drinks the booze and is stroppy and uncouth.

Ian is horrified by Jessie as a carer. She cannot even cook a good bit of fish. Maurice takes her out to restaurants, art galleries and imbues a bit of culture in her. Maurice even gets her a job as a nude artist's model.

In return Jessie lets him kiss her neck or feel her up, but not get too many liberties or he will get a sharp jab.

Venus is not a May to December romance. There is a 50 years age gap between the two. Maybe there is a fondness between the two and they both use each other for their own mutual benefits.

Maurice gets a quick feel and feels a little younger. She reminds him of the time when he was a ladies man, happy to walk out on his wife (Vanessa Redgrave) and children. Maurice buys Jessie some gifts and gives her a bit of excitement. A ride in a limousine as Maurice goes to a new acting job.

Jessie grows up a bit but Ian finds out that Maurice is a dirty old man who is corrupting her.

Venus was Peter O'Toole's last major film role and he received his final acting Oscar nomination. It is a rude, bittersweet but patchy film written by Hanif Kureishi.

The bit with Jessie's boyfriend was a misstep leading to a predictable outcome.

And so reflects 70-something Maurice (Peter O'Toole) about the importance of beauty and searching for love as the only significant goals as life races by him. VENUS is a small miracle of a film written by Hanif Kureishi ('My Beautiful Laundrette') about the isolation and inner devastation of growing old in today's society. What could have been a morose, whining diatribe about the cruelties of advancing age and the manner in which we treat the elderly becomes a window into the psyche of older characters whose lives have meant something - if to no one else but themselves.

Three old thespian friends and colleagues (Maurice, Ian - Leslie Phillips and Donald - Richard Griffiths) spend there days reading obits, sharing pills and recalling the days of their acting glory. Maurice has not given up as he still performs as old characters in films and continues his lifelong libidinous longing for beautiful females. Ian fears death from hypertension and agrees to have his niece's daughter Jessie (Jodie Whittaker) move in to care for him. But the coarse, crude, and rude Jessie drives Ian to distraction and Ian seeks Maurice's aid in diverting Jessie's time to activity away from her home care service. The story thus opens the way to examine the needs and desires of both Maurice and the very young Jessie, each finding a sense of solace, friendship and a new kind of love despite their extreme age differences. Maurice continues to visit his ex-wife Valerie (Vanessa Redgrave) whenever he needs a connection to reality: these encounters speak more about the continuity of love once splintered than in almost any prior film.

In a story that could have focused on aged lechery and youthful opportunism this film, as directed by Roger Michell, instead elects to find the path toward beauty that underlines the needs of disparate people. The performance by O'Toole is staggeringly superb and the remainder of this small cast (Redgrave, Griffiths, Phillips - all long admired, seasoned pros - and Whittaker, a very promising new face) is top notch. The writing and directing and acting in this film is at the peak of excellence - there really isn't anything else. Grady Harp

This is the kind of film in which the actors make the movie. The script shifts without ease from comedy to drama to teen angst, and the movie has a few moments of quirkiness that just scream "cute, topical indie dramedy, guys!". But the incredible cast spins gold out of this nonetheless. O' Toole is fabulous in the role of Maurice, an aging actor who strikes up a relationship with a troubled teen (Jodie Whitaker, a revelation), while trying to hold together his bonds with friends (Leslie Phillips and Richard Griffiths give a pair of brassy, funny performances that deserved awards season attention) and his ex-wife (Vanessa Redgrave, in a brilliant, understated performance). If you like to watch great actors do a great job acting, this is your movie. But no matter how great the talent is in front of the camera, it can't reach its full potential without equal talent behind it.

Peter O'Toole is considered by many to be the "best actor in the world". And he has been for many decades. Those aren't my words but the words of Anthony Hopkins. Russell Crowe and Martin Scorsese agree. And he is fantastic in this small country independent film. I have seen all of his films and this one along with The Manor ranks among the best. In both, he exhibits the phenomenal wit and timing of a master and knows more about delivering a punchline than anyone I have ever seen. And just listening to his booming voice always keeps everyone honest. In both this film and THE MANOR in which he plays Greta Scacchi's husband, he is a magnet for your attention and your eyes. He totally dominates.

WoolyMonkey

It's not much of a stretch to think that Peter O'Toole didn't have much difficulty playing an aging actor. Despite playing a character quite close to his real self he does imbue a lot of emotion into the role. I found his relationship with Jodie Whittaker (Jesse) to be interesting mixed with sadness. You almost get a sense that he's ashamed about having feelings for her but pursues her despite himself. Her initial feelings border on pity but he soon charms her into something more meaningful.

Overall it's a quiet movie that is boosted by strong performances throughout. It is an age that isn't shown often in movies and quite frankly probably makes many uncomfortable. But as I get older I can see that it's a reality that doesn't have to carry so much stigma and sadness. It's worth a viewing and might make you view old age in a different light.

This immature slice of geriatric epiphany was largely overrated when it came out, mainly due to the lead being film legend Peter O'Toole. Critics, and even the Academy awards, must have mistook this manipulative and silly little tale for something entirely greater. While Venus does have some potent themes which deal in lust and mortality, Hanif Kureishi's script is just too showy for any real effect to take hold. His plot revolves around O'Toole's late-life inspiration, as he sleazily attempts to win over a young nurse (newcomer Jodie Wittaker, doing little more then filling out a pair of jeans nicely). This was no Lolita, and the under-explored dynamics of their relationship does little to illuminate anything, opting to artfully exploit the premise instead. Many have praised the script's handling of this potentially scummy plot line, insisting Venus has far more class and substance then it's raunchy foreground would suggest, but I saw very little indication of that.

Rather, the film serves to highlight one dirty old man in all of his crusty glory as we watch, unbelievably, as this young young lady begins to offer more of herself to him. While not plagued with the indecency that would have felt more pronounced had the project belonged to more sinister minds, Venus is little more then the vapid glorification of an old horn-dog having one final hurrah. What is particularly annoying is how O'Toole and his on-screen elderly buddy continuously mug the camera with an awkward "rawness" that I suppose was instilled for comedic value and also for appealing to a younger demographic but only came across as unrealistic and laughably off. It is as if director Roger Michell, fearing the small box-office turn around, had his lead utter ridiculously foul-mouthed phrases in order to catch some tiny spark of edginess. Instead, these lines come off as painfully self-aware and completely counter-productive in proving to us that these old men are still hip.

Venus may have enough appeal to lure a certain crowd, as it had certainly pulled a fast one over many of our respected film critics, but the majority of this film felt like a tedious chore. Rare moments of cinematic sincerity occur, and when they do one will only realize what potential the film could have had if calibrated with a little more finesse. Rather, Venus let's the venerated O'Toole celebrate 50 years in the biz by having him gently chew the scenery, with dentures. His much touted performance, masterfully intuitive yet still somehow stale and predictable, was overstated from stature.