High Hopes

The title of Mike Leigh's first film was "Bleak Moments" and he's been having them, on and off, ever since. Leigh's films are the comedic equivalent of the Theatre of Cruelty. The pain running through a Mike Leigh movie far outweighs anything 'funny'. You wonder why they are called comedies at all. And the pain is usually the pain of belonging to a family unit. In "High Hopes" the family unit is Edna Dore's almost catatonic London pensioner, her appalling daughter Valerie and her equally appalling husband Martin and her son Cyril and his partner Shirley. Dore's next-door neighbours are a couple of Sloane Rangers with a double-barreled name and if Leigh has a fault it's that he can't help lampooning Valerie and Martin and the snooty neighbours. (Valerie is a clone of the awful Beverly in "Abigail's Party"). These are cartoon characters and they don't ring true.

However Dore, who does virtually nothing, is quietly magnificent as the mother whose life has evaporated in front of her eyes and Philip Davis and Ruth Sheen are heartbreakingly real as the socialist son and the woman he loves but not enough to give her the child she craves. Indeed, Davis and Sheen give the kind of performances that seem to transcend mere 'acting' and which in a just world would be showered with prizes. (Sheen and Dore did win European Film Awards). In fact, everyone is first-rate even the caricatured neighbours and the lamentable Valerie. An uneven work, then, but when Davis and Sheen are on screen it's as good as Leigh gets.

This is a magnificent film full of humour, dignity and tragedy. The two most compelling characters are the hirsute courier, Cyril, and his gardener girlfriend Shirley, socialists both, who have an ongoing, symbolic debate about whether to have a baby or not. In the meantime - no pun intended - the courier's mother is dying - tired, losing her short term memory, and lonely. Other important characters include two appalling yuppies - caricatures only if you had your eyes closed in 80s Britain - plus the courier's nouveau riche but working class sister and her misogynistic husband. Karl Marx's sad big head at Highgate cemetery also makes an entry into the film.

Mike Leigh is a wonderful talent - long may his film-making continue! Postscript: Great news the film is now available on DVD - see http://www.hopscotchfilms.com.au!

The life and times of an extended family in 1980's London.

Director Mike Leigh is probably the closest the UK has to Woody Allen: and like Allen his films go from absolute classics to barely watchable. Here he is about as good as he ever will be - indeed there are scenes from this movie that are, in there own way, as profound and original as anything that has been put down on film.

Who else would let the camera linger on the face of an old woman just at the point of losing her sanity? Or dare to present a couple going nowhere as the centrepiece of a feature film? Or even present "success stories" (a yuppie couple) as rank and selfish? Here lower-middle-and-upper crusts are clowns, it is only a matter of levels and angles.

Indeed, Leigh never gives us anything to cling to. Nor does he want to present hope that things will change for the better. Take the central couple Shirley and Cyril (Philip Davies and Ruth Sheen). Why are they living like squatters in their own tiny flat? Why can they not buy a proper bed (they sleep on the floor) or look for somewhere better - after all they both work? Apart from the question of a child (she wants - he doesn't) they both seem happy to live in squalor. In Shirley we at least have someone who cares for other people.

The old lady - through which the story is told - is on her last legs as regards living an independent life. The house she lives in has become neglected and the area she lives in no longer contain her type of people. Her neurotic daughter is so wrapped up in her own suburban life that she does seem to realise her mother is at the point of collapse. The scene where she holds a birthday party for her aged mother is agony - not for her confused mother - but for us the viewer.

Some of the performances are a little of the top (Leigh's films let actors improvise) and I could have lived without so much of the melancholy music track that rubs everything in. But this is the only film since One Flew Over The Cuckoo's Nest that lets humour and tragedy sit side by side without blinking.

Director Leigh gets under your skin and takes you places we haven't been on film before - but I am not sure they are places I would want to go on a regular basis. He is a one-off, but I am secretly glad about that.

A seemingly quaint period piece that articulates eternal issues. All the characters are so real I wondered if they were based on people I know, as I lived near to kings cross at that time. I now realise these characters are modern archetypes. Did mike Leigh invent the archetypes? The film making itself is so understated that I wondered if I was watching reality TV! The device of the opening character , to lead us into the lives of these characters is a stroke of genius! I always approach Leighs films thinking 'worthy but boring', but time and again he has me crying and laughing and everything in-between. This film will only get better with time.

This is early Mike Leigh before he achieved that perfect balance in tone between critical and affectionate that distinctly marks his best films. Consequently, while there are wonderfully observed sad and funny bits (like the visit to Karl Marx's grave and the way the Marxist couple treats the lost waif in search of his mom) the main set pieces soon descend into undue caricature (the Yuppie couple in the gentrified housing block) or nastiness (the mom's 70th b-day party). Give it a B minus if only for Ruth Sheen's warm hearted performance that would foreshadow Alison Steadman in the later, better "Life Is Sweet".