The characters weren't in the slightest bit engaging. The only person I recognised was Pete Postlethwaite, and in my opinion his acting was always better suited for the stage. Miss frontier mail and the race for box-office gold. Bioscope: South Asian Screen Studies. It evokes working-class family life in during the 1940s and early 1950s, paying particular attention to the role of popular music, Hollywood cinema, light entertainment and the public house within this tight-knit community.
I'll lend you the money. It's a powerful and profound statement on the relationship between men and women as some repeat history with abusive men and some try to push forward for more equality. What is is, however, is haughty, stiff, self-conscious and uninvolving. I only sat through it because I was with someone who wanted to see it; otherwise I would have walked out. It all comes together when it becomes apparent that the film tracks the point when one family becomes three different families and how the repercussions of childhood ripple down the generations. In the present day with digital film and Photoshop such effects are common but back in 1988 this required skill from the director, editor and the cinematographer.
Still one of the most amazing pieces of cinema around! But I just wish someone had whispered into his ear at the time when pretending to slap around his family he was good and tried his best, but the script never explained his character that he is better than this. It is an art house film, it may not suit everyone especially given the number of songs but its is an important British film of the 1980s. This is a film to avoid at all costs. It's powerful to the point of one short vignette making me weep within seconds, but it also has the ability to make me laugh often. His father died when he was six-and-a-half, though memories of him as a powerful, domineering, violent man are vivid and, together with the love and support of his mother, form a huge tension in Distant Voices, Still Lives Terence Davies's real-life father can be seen in a photograph which hangs on the wall in one of the film's central sequences when the mother and her three children, Tony, Eileen and Maisie, each walk out of the frame to reveal a tired and bleached photograph of their father. Tasveer Ghar: A Digital Archive of South Asian Popular Visual Culture. The at Hidden Door on 29 May.
I'm sure I'm a tumour. Not at all what I expected and there's certainly nothing quite like it anywhere in the history of cinema. However, a house on the eastern side of the street is used in the final scene where the group leave Tony's wedding celebration and walk into the darkness. The genre is right up my street. The first part, 'Distant Voices', opens with grown siblings Eileen Angela Walsh , Maisie Lorraine Ashbourne and Tony Dean Williams , and their mother Freda Dowie arranged in mourning clothes before the photograph of their smiling father Pete Postlethwaite.
Editorial: BioScope: South Asian Screen Studies. And be back here by 11. The Victorian houses in Kensington Street were demolished in 1961 and replaced at a later date by a low-rise Council estate and two industrial units. The second half takes place in the 1950s with the characters getting married and yet for the women, some of them are never far away from the brutish life of their youth as the men they married might still be prone to violence. Unfortunately, it will remain, it appears, a singular achievement, even among the works of Davies, for nothing he has since done approaches its power. This film didn't do it for me I confess. Also notice the more cordial relationship he has with his youngest daughter in contrast with his other children.
It's kind of sad because I like Pete Postlethwaite. Look at the actor list. In a 2011 poll carried out by of the of all time, Distant Voices, Still Lives was ranked third. Pete Postlethwaite dominates the film even though he is not there for the latter part of the film. With its very experimental approach to storytelling, it's a family drama put into a blender as the narrative rocks back and forth from when the children were young to the brutal father's death in the children's adulthood.
Distant Voices, Still Lives sets out very deliberately to be painterly, observant, episodic and poetic. While relatives sing at her reception, Eileen hysterically grieves for her dad, and recalls happy times of her youth. This film is one of the best examples I've seen of what can be achieved through the combination of images and sounds unfolding in time; through characters that can't be defined by 'objectives' and personality 'quirks' but demand to be seen as full human beings; and through a non-linear narrative structure which asks us to draw parallels between and find meaning in the relation of moments separated by time and not linked through typical cause-and-effect plotting. I returned to it again and again during my film school days. Also starring Marie Jelliman as Jingles, Brookside's Michael Starke as Dave, Vincent Maguire as George, Antonia Mallen as Rose, Debi Jones as Micky, Chris Darwin as Red, Andrew Schofield as Les and Pauline Quirke as Doreen.
The first section, 'Distant Voices', chronicles the early life of a working-class Catholic family living under a domineering father. Tony and Maisie's memories, however, are more troubled. Two pence, that's all I've got. Heartbraking story of 'normal lives , by normal people , who are all gone and 'forgotten'. Terrance Davies' two-part nostalgia exercise is, depending on your tolerance for unembellished honesty, either a sentimental trip down memory lane or a cold-eyed wallow in drab English monotony. In 'Still Lives', set and filmed two years later, the siblings are settled in life, but not all happily.