Ladies in Lavender

I had read mixed reviews on this and am delighted to report that I was captivated completely by the plot, the cinematography and the two delightful actors (and Dames), Judi Dench and Maggie Smith. Not to mention the music played by Joshua Bell, the young supporting actors, Daniel Bruhl and Natascha McElhone and the curmudgeonly Miriam Margolyes as Dorcas the daily.

Highly evocative of the era, around 1938-1939 when Germany is rising and the memories of WW1 are still strong. Janet, one of the sisters, played by Maggie, is a widow from that war and lives with her sister Ursula, a spinster, played by Judi.

The story is delicate and mindful of others - Whales of August, Tea with Mussolini, but it has its own strength - the unrequited love that Ursula feels for the young man that the sisters rescue from the shore.

Charles Dance does a superb job both with the writing and the directing of such a flimsy tale. One is taken right in to the era, the harvest, the clothes, the village dance, the fisherman with their catches of the day on the shore. Gorgeous landscapes and gardens. A slice of life beautifully done. 8 out of 10.

The film, directed by Charles Dance, is the epitome of good, low budget, British cinema. Two major actresses, Judy dench and Maggie Smith underplay their parts very well. Maggie Smith has that special gift of "scene stealing". The locations were superb and true to life as I remember that era well. The casting director gathered a supporting cast who added to the enjoyment of the film. My only complaint was that the editing for the first 30mins of the film lacked sympathy with the plot and, at times, very abrupt. The question of how the boy got into the water is never explained but it didn't matter because the script was more of a story without a beginning and without end. A great film, I loved it!

Who but Dames Judi Dench and Maggie Smith could play elderly sisters who don't particularly agree too much with each other's conventions utlizing such subtle acting talents? The script is terrific with lines thatare worthy of both great British stage and screen actors. Supporting characters present fine performances as well.

It's terrific to have such a quality drama that is true to the real lives of senior women who live in another culture outside of my own in the US. Forget all of the nonsensical bleeping of scripts loaded with cursing (even though I am no prude!). Such scripts lack the integrity of presentation of a superior English lexicon. Forget the loud, fast paced action that appeals to more violence-craving audiences than me. Forget wacky comics who'd use all sorts of gimmicks and graphics to create anything but a character close to any culture's true life.

Have a good look at the very strengths that abound in the whole of this film. The story plot line is a excellent one, I assure you. It goes like this: The ladies in lavender find a body of a young man barely still alive on the rocky, rough surf, beach in front of their old home. They take him in and nurse him to health. He turns out to be an extraordinarily gifted individual. When it is discovered that he is, the ladies have to face a harsh reality in order for him to realize his potential.

It is comparable to "Tea with Mussolini" in both quality of script, story, and especially cast. How it slipped under popularity radar when "Tea . . ." didn't, is a mystery. This is a film that needs to be viewed by any age group of people. There's nothing about it a child couldn't understand and plenty about it that senior people would relate to, as well. "Whales of August" with Bette Davis and Lillian Gish is a superior treasure.

Short stories often make better films than full novels as is evident in the case of JD Locke's 'Ladies in Lavender' as adapted for the screen and directed by the multi-talented Charles Dance. Given the barest outline of a quiet little idea of a 'fairy tale', LADIES IN LAVENDER becomes an unfolding meditation of quiet lives altered by an incident that awakens sleeping needs and emotions.

Ursula (Judi Dench) and Janet (Maggie Smith) are elderly sisters living a quiet life of gardening, strolling the cliffs and beach of Cornwall, knitting, and reading. Their bumpy housekeeper Dorcas (Miriam Margolyes) cooks, cleans, shops, and chatters in a wonderful Cornish brogue, allowing the sisters to live an otherwise isolated life - isolated from history, personal emotions, and vulnerabilities. After a storm Ursula spies a figure on the beach below their home and the two descend to find an unconscious handsome young man whom they rescue, house, nurture, mend a broken ankle and ultimately become doting adorers. The young man Andrea (Daniel Brühl) finally awakens, speaks no English as he is Polish, and his charming ways attract inner emotions in both sisters. Janet studies some German and is able to speak with Andreas, while Ursula pastes English words on items in his room to teach him English. He mends and it is discovered that he is a concert violinist who was shipwrecked while striving to go to America. A Russian visitor to the town, Olga (Natascha McElhone), the requisite 'evil witch' for a fairy tale, hears Andreas play, informs him she has a cousin who is a famous violinist, and attracts him away from Cornwall to London where he ultimately gives his own concert.

Those are the bare facts of the film's story. The magic lies not in the story itself but in the submerged feelings of the two sisters. Ursula, having never been in love in her youth, falls in love with Andrea, fully aware that there is no possibility of consummation. She feels long desired emotional attachment to the lad and the stirring in her breast is overwhelming to her. Janet, who once loved but lost that love to death, likewise falls for Andrea. It is this sibling rivalry over the passion for Andrea that provides some of the most touching and understated brilliant acting moments ever recorded on film. There is a scene where, resting from a stroll on the cliffs, Andrea rests with his head on Ursula's lap, perhaps the first physical contact with a man she has ever known, and the gentility of the slow and reticent placement of her hand on Andrea's resting head is a crystal of acting magic. How the sisters cope with this time with Andrea and his eventual leaving for his career is the climax of the film. And touching and understated it is.

Judi Dench and Maggie Smith give pitch perfect characterizations, creating two lovely beings we will never forget. Likewise Daniel Brühl is superb in a role far different from his usual German repertoire (Goodbye Lenin!, The Edukators, Love in Thoughts) and manages to create the illusion that he is actually playing the violin (while the true artist is Joshua Bell in some stunning performances). The atmosphere of Cornwall is magically captured by Dance and his cinematographer Peter Biziou with assistance from Ed Rutherford. Nigel Hess has written a musical score, incorporating well-known classical violin works as well as his own hauntingly beautiful music that adds immeasurably to the film's success.

LADIES IN LAVENDER is not a major blockbuster of a success nor does it try to be. It is simply a exquisitely crafted and acted fairy tale that gently reminds us that age does not prevent the heart from responding to that most beautiful of emotions, Love. Highly recommended. Grady Harp

This film is about two elderly sisters' lives being turned upside down after they found an ailing young man on the beach.

"Ladies in Lavender" is a captivating film. It is very strong in both story telling and in acting. Both Judi Dench and Maggie Smith did excellent in portraying love and jealousy. It is amazing that by just one look on the face, you can tell how the characters are thinking. The story telling is subtle by the acting is so direct. "Ladies in Lavender" draws me, captivates me and touches me. I think this film deserves a wider audience. It is a pity, that many people may not give this film a chance because they think the target demographic is towards the older generation.