mroselli

Having seen the film many times on DVD, and having read many reviews, has inspired me to offer this review. It is easy to find fault with one aspect or another of this (or any) film. Sometimes it may be the performance; other times it may be the script and the way the character is written. Overall, whatever shortcomings any viewer might identify according to his or her perspective, Four Weddings and a Funeral does what it is supposed to do, namely to entertain. One could wrangle on and on about Andie MacDowell (as many have!), but the fact remains that she portrays a character we, as viewers, are not meant to judge. For those who claim there is no chemistry between MacDowell and Grant, it would seem that they are not accepting the story as written but as they would like it to be. MacDowell plays a very complex woman: attractive, somewhat mysterious, coy, experienced as a lover (a very uncomfortable point, especially to a modern audience) and verbally playful. It would be easy to dismiss her character Carrie by labeling her a slut (as Fiona does in the film). Hugh Grant's Charles is attracted to her and falls in love with her. The movie establishes that there is some level of mutuality in this attraction, despite Carrie's considerable amorous past. Charles is meant to be the one man in her life who challenges her to see that there is a difference between love and sex, that sex is more than mere physical attraction. We see Carrie much more objectively than Charles does, which I think is part of the movie's energy. We could as easily dismiss Charles for being a fool for being interested in someone with a longer list of lovers than his own. Much has been said about MacDowell's acting- that she can't, that she is wooden, that her very presence on the screen is boring, even ruins the film. That is too facile, too dismissive. One could equally take exception to Charles' constant faltering speech and see his eye blinking as annoying. Clearly this Englishman and this American woman are not perfect, but they do happen to be attracted to one another and the movie tells the story of what becomes of this initial attraction. Let us not forget the insensitive way Charles has treated each of his former girlfriends, regaling each new date with the shortcomings of the previous ones. Let's not focus on the fact that he is more virtuous because he only slept with nine women, a mere fraction of the number of lovers Carrie had. Clearly the movie is about how both of these characters are looking and at the same time are somewhat lost. Both choose the wrong partners for marriage for the wrong reason. Neither really listens to his or her heart until the end of the movie and having made disastrous mistakes. Some criticize the movie for the fact that we don't know what any of the characters do for a living. I don't see how that really makes a difference. We do learn that Carrie worked for Vogue magazine. We also learn that Scarlett is considering a job for a supposed sex shop called Rubber. The focus of the movie is on the personalities, feelings and thoughts of the main characters, not what careers or professions they have. In that area the movie does give us enough information to be able to involve us as viewers. The movie is not meant to be terribly profound, although there are several moments which delve beneath the surface of mere comedy. The best way to enjoy Four Weddings and a Funeral is to see it for what it is and not what we think it should be.

I was so happy to notice that the overwhelming majority of reviews for this film was positive. I have always regarded Robin and Marian as an under-rated classic. In it we have two major film actors at their best in legendary roles with a different spin: Robin and Marian, famed medieval lovers, separated for many years, then reunited in middle age. Sean Connery and Audrey Hepburn perfectly embody these roles with a depth of realism. They take these mythical figures and make them live. Marian was the perfect role for the 46 year old Hepburn to portray, and no doubt it was the quality of the script and the fascinating premise of the story which were able to lure her back to the silver screen after a nine-year absence. (Unfortunately none of her subsequent film roles were of this caliber.) The supporting cast is solid, a real ensemble of some of the greatest British actors. Richard Lester's direction is masterful. The screenplay brings great romance and irony to the relationship of Robin and Marian. The cinematography is beautiful without painting the tragic nature of the tale in rosy hue. The music of John Barry, as is always the case, wonderfully accompanies every mood and moment of the story.