The Party

The story of 'The Party' was unbeknownst to me upon my viewing of the film. All I knew was that it is directed by British Auteur Sally Potter and stars Kristen Scott Thomas, Timothy Spall and Cillian Murphy, which is the extent of context I will divulge here as I feel it is better to watch this film knowing very little about its narrative.

Although simplistic in its base narrative, underneath 'The Party' is a short, snappy, satirical view on the modern day socio-political climate. It paints the modern system of politics as ineffective at implementing change, suggesting a more immediate method is required in this day and age to keep up with such a rapidly changing world. The film succeeds and does this effectively through witty dialogue, articulately crafted Mise en Scene and a comedic narrative progression.

The narrative progression I refer to is the advancement of the characters into pure chaos after the guise of 'polite society' is stripped away, revealing the hypocrisy behind its ideals and presentation. This chaos is the crux of the film as it magnificently illustrates the futility of the mask that the upper class have created for themselves, which the film heightens through comedic elements giving the film a heavily satirical atmosphere.

Furthermore, the films caricatured characters play a crucial role in conveying the film's message as many of them are hypocrites, their real faces hiding behind the mask of what 'polite society' expects to see, with costume being cleverly utilised to convey to us the true thoughts and feelings of many of the characters whilst simultaneously acting as a red herring in some circumstances, illustrating how we cannot always know whether or not people are truly what they present themselves as, linking to another key message the film discusses: distrust in the political landscape.

However, although the film has a profound message, it suffers from being very simplistic on its surface. The story is cliché and predictable with a couple of drawn out dull moments, with the real meat of the film laying underneath, and whilst this is the case for most films, the surface has to be captivating at the same time in order to engage the audience. In this sense 'The Party' could be potentially divisive for audiences as the film runs the risk of appearing pretentious and dull for some viewers, which I can confirm as many left my screening of the film verbally disgruntled.

In conclusion, 'The Party' is an incredibly humorous, satirical take on modern day society's political landscape as well as the hypocrisy of 'polite society' and its bloated sense of self righteousness. Although it has its flaws, 'The Party' is a highly entertaining film with a punchy message that really sticks with you after you've left the theatre: indecision is the face of modern day politics, and that desperately needs to change.

Stellar performances, 9/10 script (there is a little bit lacking in the ending), and an overall likability to all the characters. For the first time in a long time I felt like I needed to post a review, because it felt like my view wasn't represented. If you liked Carnage, this is for you: This is a tightly wound, small play, made for screen. The bonus of having close-ups and a definitive, select final cut, made this a real treat.

A 71-minute movie in black-and-white seems a rather poor return on the price of a cinema ticket these days. The Party is a theatrical comedy - it would have to be half of a double bill on stage or perhaps better suited to a TV play. It's like a middle-class upgrading of THE ROYLE FAMILY relocated to somewhere like Hampstead or Swiss Cottage.

MP Janet (Kristin Scott Thomas) is hosting a drinks do to celebrate becoming a Shadow Minister (from sarcasm at Thatcher's expense we can safely infer that she is Labour). Her husband Bill (Timothy Spall) is weirded out after some bad news at the hospital. First guests to arrive are their best friend Patricia Clarkson (in uber-bitch overdrive) and partner Bruno Ganz, then a lesbian couple, then manic coke-snorting Cillian Murphy (at his dishiest), whose wife – though we never see her – provides all the drama. Infidelity (off-screen)is super-abundant and provides most of the humour.

They're (meant to be) a bunch of unlikeable phoneys, given some snappy dialogue by writer/director Sally Potter (who gave us ORLANDO in 1992 – now there was a weird movie). Unavoidable echoes of Mike Leigh's ABIGAIL'S PARTY (1977), which was much more more hysterical than Janet's celebration here. Slight and intermittently funny. Not very good value.

I had decent expectations for this from the second I saw it's trailer, I've just caught it on Netflix and it's fair to say I'm disappointed. A jumble of weird political statements and a masterclass in overacting the only thing going for this film is the fact it's a little over an hour in run time. With shallow characters who are easy to hate and are mostly uninteresting with the exception of Murphy's Tom this film is sadly not what it could've been. The setting is great as is the cinematography and style plus there's some great uses of music but sadly the 'story' is simple (which can be fine) but poorly executed, not what it could've been

'The Party (2017)', which tells the tale of a dinner party awkwardly gone awry, plays out in real time and relies solely on the dynamics between its seven core characters, who deliver dialogue that mostly does that debatably grounding and realistic thing of actually being about quote unquote 'nothing' - swapping Tarantino's signature pop-culture-spewing style with one that focuses on the main socio-economic and political views of modern Britain (issues which have their place and need to be talked about but are here almost used as filler). While it is fairly entertaining for the majority of its very short runtime, once you look back on the overall narrative it feels somewhat empty (and, dare I say, unnecessary), especially when you know where it leaves off and how many of its seemingly insignificant plot strands are simply left dangling. It's a darkly satirical piece and there are a few nice moments which stand out from the otherwise forgettable proceedings. It's also technically very well conceived, genuinely feeling like an encounter one might have at an unfortunate New Year's Eve party. 6/10.