Friends & Crocodiles

I honestly thought that this was one of the greatest films I have ever had the pleasure of watching. Is it just me or are the general public getting less intelligent as I get older? It is true that in this film not everything is handed on a plate to the viewer, however, for me, this is what makes it a complete breath of fresh air. I'm quite bored with having every intricate detail of stories and characters in modern films served up to me as if I was completely mindless. This film leaves the viewer to do some thinking for a change and as part of the process it challenges their perspectives and values. We are then left with questions not only of the film but also of ourselves, which is exactly where we are supposed to be. It is is original, thought provoking and takes us back to the old art of story telling at its best.

Adam

Though handsomely produced and fairly diverting, this is ultimately a rather silly movie. Characters rise and fall and undergo drastic transformations at the whim of its simple-minded plot. (Mike Leigh's two-hander "Career Girls" seemed similarly unrealistic, but its characters were so endearing that it didn't matter.)

The biggest problem with "Crocodiles" is that it has a high school freshman's idea of what the workaday business world is like. The heroine's ascent is never believable, nor are the emotional changes she goes through. The three bosses we see -- a fussy, posturing little fellow played by Allan Corduner, a ruthless corporate CEO played by Patrick Malahide, and some pushy, fault-finding fat guy at the beginning -- are all ridiculous caricatures. The office Corduner presides over resembles a kindergarten class. The Damian Lewis character is treated by everyone there with inexplicable deference and indulged for months in ways no real-life company would put up with. (In fact, his character's imperturbable smugness throughout the film is increasingly hard to take.) And in light of what's happened in the real world, his success in establishing a string of old-fashioned bookstores seems sadly ironic.

The movie also forces us to watch too many long, lavish parties, and it's a reminder that -- for me, at least -- there's nothing more boring (although they were probably fun to stage).

On the other hand, Jodhi May remains fairly breathtaking in just about anything; and considering all the closeups and screen time she gets, I have the impression that Poliakoff was as enamored of her as I am.

Stephen Polliakoff's films are always interesting, even when they're not actually very good, because Polliakoff himself is interested in things that few other contemporary writers and directors are: time (he likes to tell his stories slowly) and space (they unwind in beautiful and unusual places). Unfortuantly, the specific content is often less interesting than the way that he explores it: the world he paints is aesthetically delightful, but sometimes doesn't resemble the real world very closely; 'Friends and Crocodiles', for example, is not his only film about a rich man surrounding himself with eccentric friends, in a way that seems more necessary for the purpose of the drama, than it does plausible. And this particular film is also let down by some clunky expositional dialogue (for example, when the heroine gets a new job, someone feels the need to explain that her new firm is "one of the country's largest companies"), a paper-thin satire of modern business practices, and the lack of chemistry between her character and her millionaire patron. Alan Rickman, who played a similar millionaire in his earlier film "Close My Eyes", had the charisma to pull the role off; Damian Lewis, by contrast, is flat in this movie. One weakness of both stories in the Polliakoff's tendency to centre his dramas on false (or at least, irrelevant) dichotomies, particularly that between new technology and aristocratic artifacts; but both his worlds are unreal, gorgeous and belong to the moneyed elite; I find it hard to draw any meaningful lessons from their pseudo-conflict. I suppose you don't watch Polliakoff for pure social realism, rather for the imagery as striking as shafts of light. But light has to illuminate something: in this film, it's not that clear what that something is supposed to be.

Friends and Crocodiles follows the career of Paul, a brilliant entrepreneur who has made his fortune from retail. As well as being talented, he is also feckless and unstable. We open in 1981, when Paul is the owner of a beautiful country house set in a vast estate (echoes of Richard Branson's purchase of The Manor near Oxford a few years earlier). We then follow Paul's volatile career, which becomes intertwined with that of Lizzie, a talented manager, whom he recruits as his PA from a local estate agent. She brings order to the chaos of the house, which Paul has filled with an assortment of freaks who are all expecting to make it big in something. Lizzie storms out of his employment after a stunt at one of Paul's parties puts people in danger and as the years progress their paths cross at intervals, their relationship slowly mutating into one of grudging mutual respect. Despite the chaos he creates around him, it is his judgement that she ends up respecting, against the entrenched wisdom of the whole business establishment.

The film is a sharp, accurate and very involving tour of Britain over the last quarter century, through the high noon of Thatcherism, the wobbling confidence of the Major years, the dot com boom and the subsequent meltdown, through to the present. The lunacies, the technologies, the pain and the silliness. Maybe you had to live through it and suffer with it for Friends and Crocodiles to work. But even without that it's a vision very difficult to ignore.

Nowhere on television have I seen colour used as it is here. Almost every shot is a work of art, which of course makes it sound pretentious. It isn't pretentious on screen -- just a succession of startling, highly unusual and often very beautiful images. In some ways reminiscent of Fellini's movies, but more rooted in the everyday.

Underpinning it are the expert performances of Damian Lewis as Paul and Jodhi May as Lizzie, which are crisp, sharp and utterly believable.

This piece seems to have divided the audience and critics. We have seen and heard more negative reviews than positive ones.

We thought it was a very interesting and enjoyable piece. As so often with Poliakoff, he creates characters who don't behave as you expect them to. They infuriate and they surprise you.

In this epic piece, spanning some 20 years (early eighties to early naughties)Poliakoff examines themes of business, friendships and survival in a fast-changing world.

Crocodiles are an interesting metaphor for survival and coping with change/trauma.

So are friends, both the loyal and the relatively fair-weather variety. Both types are on display here.

Drama about business is usually horribly infuriating because the playwright has little or no insight into how business really works. Similarly technology. Poliakoff understands business and technology far better than most writers.

Of course the piece simplifies and takes positions on these issues - who wants a 20 parter on such subjects - but the piece works excellently well as a sub 2 hour film for TV.

Several critics said that they "just don't get it" with this piece. I feel sorry for them if that is really the case. Perhaps most critics, like most writers, have little understanding of business and/or technology.

The acting is excellent - Damien Lewis (everywhere these days) and Jodhi May predictably good. A few cameos for old favourites too.

The cinematography is just stunning - Poliakoff is probably now at the very top of his game in this aspect of his work.

It's big canvas stuff, it is truly beautiful to look at and it leaves you plenty to think about and talk about afterwards.

We need more of this quality of stuff on TV and cinema please!! And this piece will last. Some of those who "don't get it" just now will, in a few years time, be hailing it as a classic and repeating it for decades to come. It's that sort of piece.